 Hello there and welcome to my Maya 2016 for beginners video tutorial. By completing this tutorial you'll be able to go from a complete novice who knows nothing about either Maya nor 3D modelling and I'll take you through 3D modelling techniques as well as texturing, lighting and rendering and by the time you finish you'll have created the image that you can see on screen. The tutorial will take 2-3 hours to complete and there's a written companion available which you can find by clicking the link below the video. There are two versions of this tutorial and you're currently in the one that is one long video which contains each step back to back. If you're happy with that then just hang on a sec and we'll get underway. But if you prefer to go into a playlist where each step is broken down into its own video then click the link on screen. OK, let's get stuck in! OK, so the first step, the first thing that we need to do in Maya is to set up a project and what a project is, is one folder which contains a lot of other folders that contain all the assets, geometry, textures etc for the project that you're working on. It's really important that you do this properly otherwise once you start rendering later things can go wrong. So the first thing you'll need to do is outside of Maya just create a folder somewhere and I'm just going to call this Maya Project and I'm just going to leave it on my desktop for now which will be fine for what we're doing today and then what I'm going to do is go back into Maya and I'm going to click on File and I'm going to go down to the Project window and click on that. OK, this is the Project window. The first thing you'll need to do, you'll notice that you can't click where it says default. You need to click on the button that says New and then you can give your project a name. Now I know that I'm going to create a room so that's what I'm going to call my project, R-O-O-M. And then you need to choose the location. So I'm going to click on this folder icon and then I'm going to go to desktop and there's my Maya Projects folder and I'm going to select that. Now here you can see it's given a list of all the folders it's going to create and the names it's going to give to them. I'm happy with the defaults. I'm very used to the defaults so I'm going to leave that as it is and click on Accept. There we go and that's how you create a project in Maya. Now just to show you what that's done, I'm just going to go into that folder and you can see I've now got a room folder within that which is the project folder and then inside there, there are all those folders that have been created. So we now have a folder structure set up for the rest of our work. The next thing you'll need to know how to do is how to create a new scene. What a scene is, is it's the single file that contains all of your geometry and then links out to things such as your texture files. And it's really important that you know how to make them and how to save them. So that's what we'll look at. So to create a new scene, you can just click on File, New Scene, Dead Easy. I'll ask you if you want to save the current scene. There's nothing in it so we don't and that's done. So that's really straightforward. It's not something we strictly needed to do but it's something that you needed to know how to do. The next thing that you need to be able to do is to be able to save a scene. And this is really important. If you don't save your work in Maya and save your work regularly, you will lose it, guaranteed. Maya is a cruel mistress and sometimes she wants you to fail. So let's try and avoid that. So to be able to save a scene, what you do is you just click on File and Save Scene As and you should notice that by default, because we've taken the time to set up the project, it's gone into the desktop, Maya Projects, Room, Scenes folder, which is where your scene should go. Every file that you use should go in the right folder and this one belongs in the Scenes one. You've got a choice of file types. There's Maya Binary or Maya ASCII. I used to use Maya Binary all the time but I now recommend Maya ASCII because it's more likely to allow you to be backwards compatible. So I'm creating this in Maya 2016 and if I wanted to then open that scene in 2014, I'd have a better chance of that working if it's an ASCII file type. So I'm going to change that to ASCII and then I'm going to call it Room and Save. And that's how you save a scene. The next thing we're going to look at is the menu sets and the shelves. In Maya, there are a ridiculous amount of menus and so many tools that they can't offer on the screen at once. So the way they've got around this is they've set up different shelves and different menu sets and you'll change the menu set depending on what you do and the same goes for shelves. For what we're doing, we need to make sure that you're on the modeling menu set and the polygon shelf. So by default, I am already there. But let's say we're not for whatever reason, the way you change them, so your menu sets, it's this drop down box here and you'll notice that something like the first six options, maybe seven, stay the same. But after that, they change. So I'm going to change to modeling and you'll see that after windows, all of these change to become relevant to modeling. And then you can see the shelves here. Everything relates to curves or surfaces, but I want polygons. You can see I've now got the polygon shelf activated. So I've got all the tools I need in one place. In this step, I'm going to show you three settings that you can turn on that may actually save your life. That is infinite undoes, autosave, and incremental saving. As I have already said, Maya kind of likes letting you lose your work. And we need to put measures in place to prevent Maya from doing that. So let's look at how we do it. So the first thing we're going to do is enable autosave. So in order to do that, we're going to click on windows. We're going to go to settings and preferences, and then go to preferences. And then we'll just enlarge this window a little bit. And then in this window, we need to find the files project section. So we'll click on that. And then you will see that under the autosave section, you can put a tick in the box for enable. And then you can set how often you would like that to happen. For me, 10 minutes is okay. I don't want it to save every two minutes because that will interrupt my workflow. And I don't want it saving every one hour because then if anything does happen like Maya crashes, then I might have to redo 59 minutes worth of work, which would make me really sad. So that's okay. The next thing we're going to look at is undoes. By default, Maya only lets you undo 50 actions, which means if you have made a lot of changes, if you've been working on a project for a while, and you need to go about, you've realized that something went wrong at the sort of early stages and you need to undo to get back to that stage, you might be 100, 200 actions down the line and you're not going to be able to undo. So that means you're going to have to start again. So the way to give yourself unlimited undoes is to scroll down to the undo section and you'll see that undo is turned on, it should always be turned on. And at the moment, the queue says it's finite and we can only have 50 actions. That's mental. Unless you're really low on RAM or something, you should never really, I think, have a queue size at all. So we're going to go to infinite. That means that no matter what we do, we can always go back to when we originally opened Maya, press control and Z and it'll take you right back to the beginning. Yes. The next thing we're going to turn on is incremental saving. And this really works in tandem with the auto save feature that we turned on earlier. What incremental saving means is that when Maya saves a scene, it gives it a new file name. So we'll start with room and then the next one will be room one, then room two. And what that means is that if you've made a catastrophic error, and it happens a lot, believe me, and you might have done that early on and then everything you've done since that's built on that has just been wrong because of that mistake you made. If you've just been saving over the same file, you can't go back because you've saved the changes in. But if you know that you made that error in room four, then you can reopen the room four file and then kind of branch off in a different direction. So it's a really, really useful feature. So in order to do that, we're going to click on save because we're doing this preferences window now. So we'll save those preferences. And to turn on incremental saving, that lives in a different area. We click on file and then you'll see save scene, but to the right of it, there's a little box. Whenever you see one of those little boxes in Maya, that means there's some additional settings are available and if you click on that, it will open a new window. So we'll do that. Here it is. And you can see that there is now a tick for incremental save. You can limit the amount that it does. I'm not going to do that. If you're short on storage space, then you might want to do that, but I've got plenty of storage space. So I'm just going to let this save as many as it needs. And then I'm just going to click on save and close. That now means incremental saving is turned on and I'm less likely to make any mistakes that I can't come back from. Now that Maya's set up for us, in this step, we're going to look at actually getting some modeling done. We're going to make something and we're going to make a room. So what I'm going to do is throughout this tutorial, I'm going to show you different ways of doing everything because the thing about Maya is there are about 20 ways of doing absolutely everything and you'll find your own preferred way or the way that he's fastest for you. And I'm going to introduce you to some different ways. So the first thing I'm going to do is create a cube and we're going to do that from the create menu. So if we click on create, you can see that there are lots of options here. We're going to choose polygon primitives and we're going to find cube, but there's a setting I want to change before our creator. So I'm going to go to the options box for cube and what I want to make sure is that normalization, so that tick box there for normalize is turned off and it doesn't actually affect the way the cube works, but what it does is it alters the texture space and it won't make any difference yet, but it will later when we come to texturing the cube. So I'm just going to turn that off and then click on create. And then you'll see that we have a cube at the center of the grid. The center of the grid is called the origin zero, zero, zero. You'll see over here on the right of the screen that you've got the channel box layer editor and that will tell you that you've created a cube. There it is, P cube one and it'll give you all the sort of statistics, the properties of that cube. So you can see that it's placed at zero, zero, zero. The scale is one by one by one and there are a few other things that we can change as well. When you create your cube, it may or may not look like mine. It's likely to look the same as mine because I've got the default preferences of Maya turned on but there's every chance that it'll also be in wireframe view and at this stage I'd actually prefer to work in wireframe. So at the moment you can see we've got this shaded view on so it's like a gray cube but I want it to look see-through. So there are two ways of doing that. You can either click on this icon here which is wireframe mode, there you go or you can press number four on your keyboard, like that. So that's what we're going to do before we move on to the next step which is resizing the cube. So to resize the cube, we're actually going to work in the channel box for it. And what I'm going to do because I've got, I'm kind of struggling for screen real estate. There's not a lot of space here. I'm just going to drag this down here just to hide the layers bit and that reveals this input section and you'll see polycube one. And it's here that I want to change the size and shape of the cube to represent the room I'm creating. So I want a width of 25 and then I'll press enter. A height of 10 and a depth of 25. And that will give you the basic dimensions of the room that we want to create. The next thing we need to do is rename this cube. By the time you've got a full scene full of assets, you could have hundreds and hundreds of cubes. And if they're all called polycube number, you're never going to be able to find what it is you're looking for. So it's much easier to give every object that you create a descriptive name as you create it. So that down the line, if you need to make alterations or find it if it's hidden or maybe there are 500 cubes all close together, you'll be able to find it in the outline. So I'm going to scroll up to the top of my channel box and you can see where it says P-cube one. If I click once on that, it then becomes an editable field and I can write in there and give it a new name. So I'm just going to call it room and press enter and that now has a new name. It's really important that when you rename something that you remember to press enter because if you click it, forget to put a name in and then click somewhere else, it'll keep that as the name of it and it just gets really mad at you. It won't let you then use that object or even delete it. So make sure you put a name in and press enter and you'll be good, promise. What we're going to look at now is how you use the virtual camera in Maya. So what I'm talking about is how you navigate the scene and to be able to do that, you need a three button mouse. Here's my ugly S three button mouse and you need a keyboard with an alt key on it and you use your mouse and your alt key in combination to be able to move around. So if you hold alt on your keyboard and click the left mouse button, it'll allow you to do this, which is known as tumbling around. And basically what it does is it makes it look like your object's rotating, but it's actually the camera's rotating around the object. So there's that one. You can also hold alt and the middle mouse button and what this does is it dollies side to side. So you're now moving side to side in 3D space. And then the third button, the right mouse button, if you hold that with the alt key, that will zoom in and out. So you're now moving closer or further away from the object. You can also use the scroll wheel, that little chap there, if you've got one. And you can see that will also zoom in and out, but it kind of does it in fixed increments, which is useful. I use it quite a lot because it's quicker to zoom in and out than having to reach the keyboard from nowhere near it, but it's not as accurate as the right mouse button. So that's just another option for you. Another thing that's really useful for navigating a scene are a couple of keyboard shortcuts which frame up objects. So let's say that I've lost myself in 3D space and it does happen when you're still new. So let's say I've accidentally zoomed out too far and I've moved off to the side as well. And now I've no idea where my cube is. If you have it selected, you can just press the F button on your keyboard like that and that will frame up what you've got selected. Equally, you can also press the A button on your keyboard and that stands for frame all and that will frame up everything in your scene. Now, because we've only got the cube, when I press it, it'll have exactly the same effect, but if I had 10 cubes in the scene, it would frame all of them so I could see all 10 rather than just showing me the one that I had selected. What we're gonna do now is we're gonna move this cube so that it's in line with this grid to represent the floor height. I'm gonna do that using the move tool. As you can see, Maya's got many tools that are on screen at once, but the three that we're interested in at the moment, well, four, this one here is just the selection tool and then you've got this chappy here, which is the move tool, then there's the rotate tool and the scale tool and right now we want the move tool so I'm gonna click on that little bad boy and then you can see this manipulator appears and that shows you, you can click on these manipulators and then drag to move the cube around. So if I was to drag on this yellow, this green, sorry, arrow, that will only move it up and down so I've just clicked on that arrow. If I do the same with the red one, it's only gonna move it on the x-axis and if I move it with this one, it's only moving on the z-axis and to know which axis you are moving it on, let me just do that, you can see that you've got this in the bottom corner which shows you where your axes are so I know that that one there represents up and down on the y-axis. So you can do that. What you can also do is grab this manipulator in the middle and that will allow you to move on all three axes at once and it'll just go all over the place. That actually in your perspective, your 3D view is really good idea because you've got no control over depth. What is better is you've got these little squares that have been added I think in my 2016 which if I click on this red one which red usually corresponds to x, what it actually does is keeps it still on the x-axis and moves it on the other two. So if I click on that, it'll move that way and it'll move up and down but it's not moving on the x-axis. And the same goes for here, it'll only move those two directions and this one here won't move up no matter what I do. It'll move into the distance, it'll move sideways but it won't move up. So they're pretty useful. So what I want you to do is try and move this cube up as close as you can get it so that the bottom of the cube is in line with the grid and you might want to just rotate your view a little bit to help you with this and maybe zoom out or in. So I'm just gonna move that up. I'm just gonna try my best to get that in line with the grid and that's not bad, that's pretty close. In fact, that's very close. I'm pleased with that. I'm now going to introduce you to the orthographic views and what they are are views that don't incorporate perspective. So as you move things into the distance, into the background, they don't get any smaller which for 3D modeling is really useful. So in order to get to those views there are two ways of doing it. You can either click on this icon here which will take you to the four view or you can tap your space bar assuming that you've got all the default Maya settings or you've not changed anything. So I'm just gonna tap the space bar once with my mouse pointer making sure it's in this view somewhere and that will take me to this four view. And then what I'm gonna do is I'm just gonna put my mouse in each of these doodars, each of these views and I'm just gonna press four to turn on wireframe so that I can see the grid behind a little more clearly. And then I'm just going to see if I can line this up any better. So I'm gonna choose my front view and once my pointer's in this view I'm just gonna tap space bar and that will just make that full screen and actually I'm pretty close already. There's not much closer I can get it. So I'm quite happy with that. So I'm already pretty much on the ground. But the best way to make sure that you've got it exactly on the ground is just with basic math. So we know that the cube we've created is 10 units high and we've created it at 0, 0, 0. So to make sure that we move it up exactly the right height to be in line with the floor we just need to move it up five units on Y. So where it says translate Y, you can see I'm actually very close to what I wanted. It should just be five exactly. And that now is perfectly in line with the bottom of the grid. Okay at this stage I actually want to turn shading back on so I can get a feel of what the shape actually looks like. So making sure that my mouse is in this view somewhere I'm just gonna press five on the keyboard or you can click on this button here and that'll turn the shaded display on. What this does though is it shows up an issue that we're gonna have and that's that this is a room but we can't see inside it. So we could if we wanted to zoom in like so. You can see we're now inside the room but it's a little bit difficult because the walls in the foreground just kind of want to get in the way all the time. So what we're gonna do is turn something on that will hide those whenever they are in the way. And what that is is back face culling. So in order to do that we're going to click on mesh display at the top of the screen and then we're going to go down to under the normal section reverse. And what that does is reverses which way the face would be facing if it was one sided and we're about to make it one sided. So we want the moment it's facing outwards but we're gonna turn it around and make it facing upwards. So we click on reverse. At that stage it should kind of go a orange and black color that's ace. That means it's working. Don't click on it. Make sure it stays that color. And then you're gonna go to display polygons and right at the top here you'll see back face culling. When you click on that you'll see that those walls in the foreground are hidden. So you can now see in the room really nicely. Okay, so I'm now just gonna deselect it. And if I just move around the room you'll see that the walls reappear once they're the far walls. So that's gonna make it really useful as we're creating this room project. What I'm also gonna do at this stage is turn off the grid. The grid is often very useful but it's equally irritating in the way sometimes as well. So what we're gonna do is turn it off so that it's not in the way. And it's really easy to turn off. At the top of what we'll call the panel menu. So that's the menu at the top of each panel. You'll see that there is an icon for that grid and if you click on it disappears which is useful and easy. In this step we're gonna start putting things inside the room. And we're gonna start by creating a crate which gives us another brilliant excuse to create a cube, a dual of cubes. So as I said earlier, I'm gonna show you different ways of doing things and this time we're gonna create a cube using the hot box. And what the hot box is it's something that the Maya pros use so that they can turn off all their menus and give themselves more screen space. So when you press and hold the space bar it brings up the Maya menus for you in this way. And you'll see that within this you can click on create and you will have to click and hold when you're using this. And then from the polygon primitives section you can choose cube just like we did earlier but we're getting it from a different place now. And there is our cube. And what you'll want to do with that cube is just move it up a little bit because it's stuck in the floor. And then what I want you to do is we're going to resize it we're gonna reshape it a little bit we're gonna move it into the corner of the room we're gonna rotate it a little bit as well. So we're gonna use the three main tools all together here. So first thing I'll do is I'll turn on the scale tool and this works in the same way that the move tool does. You've got your three manipulators here and they will scale it on just one axis at a time like that or you can use these squares over here and that will scale it on two axes at once leaving alone the one axis that it kind of represents or you can scale from the middle and that'll scale on all three axes at once. And often when you're scaling it is a good idea to use that middle manipulator. So what I'm gonna do is just scale up slightly like that and I'm also just gonna make it slightly kind of oblong just so it's not a perfect cube. And then I'm gonna move it down just so it's kind of just up above the floor then move it over to one corner of the room and then I'm gonna just rotate it. Now the rotate tool, again, works similarly to the other two. You've got three colored lines representing which axis you're using. So if I click on this one representing the Z axis there it goes, it rotates on just the one axis. Same for this red one representing the X axis and in this case I want to rotate it on Y just so it's not perfectly in line with the walls of the room. What you can do is you can rotate on this circle here which will kind of rotate it based on the camera or even worse is you can click somewhere in between those lines and it'll just rotate on all three axes at once which is just awful because you've lost control then. You can't really rotate it in one direction. It could go all over the place. So I don't recommend that you do that. So that's that crate in place. So we've created it, we have resized it, moved it and rotated it. That leaves the last thing to do is renaming it. So we're gonna go to P cube one and I'm just gonna call this one crate and that's that step complete. The next thing we're going to do is create another cube. Now we could obviously create a new cube like we have done previously but we're actually creating a second crate this time. So because we've already got one that's roughly the right size, shape and position, it makes more sense to duplicate it rather than create another one from scratch. So that's what we're gonna look at now. So I'm just gonna turn my rotate tool off and go back to my selection tool and I'm gonna make sure that it is selected and then in order to duplicate this cube that I've created I'm gonna go to edit and down to duplicate. So when I click on that, it won't look like anything's happened but you'll see the name of the object is now crate one instead of crate. So what Maya has done is created a new crate, a copy of the first one, he's named it for us, crate one and it's selected it for us. So we don't have crate selected anymore, we have the new one selected. So if I switch to my move tool which is this little chapter here and then I can just move that and you'll see that I have the original crate and the copy, the duplicate. So now what I'm gonna do with that duplicate is I'm just going to scale it a little bit and what I'm using, by the way, is the keyboard shortcuts for switching between these three main tools. The keyboard shortcut for the move tool is W. The keyboard shortcut for the rotate tool is E and the keyboard shortcut for the scale tool is R. If you can get into the habit of using those, it'll make your life a little bit quicker, which is good. So what I'm gonna do is I'm just gonna change the shape of this one a little bit because I don't want everything to look too samey and I'm just gonna rotate it ever so slightly and then I'm gonna just make sure that that is positioned next to the cube. I've already made it to the crate, sorry, on the ground like that. Okay, so this step is complete but the next step is up to you. So what I want you to do is create a stack of five of these crates that look like they're obeying the laws of physics and gravity. So just create different sizes shapes, stack them up, create five of them. I want you to have done that. I will see you in the next step. Okay, so there you can see that I've made a stack of boxes. Hopefully yours looks as beautiful as this. Hopefully it looks even better actually. I bet it looks better but what I'm gonna do now because it's getting hard to see these crates against the background, the shades of grave are a little bit too similar and the reason that is, and I'm not sure why Autodesk have done this but they've started previewing different levels of gamma for some reason, the way to turn that off and it'll just make things a little easier for you to see is just where it says on here, click on it and it'll turn it off and it just makes everything a little bit darker and the contrast is a little bit higher as well so it's easy to see. What you can also do to make it easy to see your objects is this little fella here will show wireframe on top of shaded objects. So if we click on that it gives you like a blue outline and it just makes things a lot easier to see. So for the time being we'll work with those on just to make things as visible as possible. So what we're gonna do now is we're going to create some architectural pillars. So we're gonna try and make the geometry of the room look a little bit more interesting by creating sort of supporting structures along one of the walls. So this time we're gonna create a cube in a third different way and we're gonna do that from the shelf. So I'm gonna click on here and the new cube is created at the origin. I'm gonna rename that and I'm gonna call it pillar and then what I'm gonna do is I'm gonna resize that. So I'm just gonna change my view a little bit because I'm gonna want to place the pillar along this wall and then I'm just going to move it up out of the ground and in fact, just to make it positioned where I want it to be I'm gonna move it up five units exactly and then I'm just going to make it a little taller and I want it to just almost intersect the floor like that and that should then mean it almost intersects the ceiling as well. And then I'm gonna make it a little bit longer in this direction and I'm just gonna make it a bit thinner on that axis. Okay, so I'm happy with that. That's beautiful. Now what I want to do is perform a bevel on some of the edges of the shape. And what that will do is make it look a little bit more visually interesting and appealing. So in order to do that I'm gonna introduce you to this little button here which opens the modeling toolkit which is something that Autodesk have added to Maya 2016 to put a lot of the polygon modeling tools together in one place, which works quite well actually. So if we click on that, the first thing we're gonna want to do is change it from object selection mode which allows you to select the whole object and we're gonna change it to edge selection mode which is gonna allow us to select just the edges. There it is, you can see now if we mouse over the pillar the edges go red when we can select them. So I'm gonna click on this one and then I'm gonna hold shift and click on the second one and that will select two of them. I'm gonna go back to my selection tool which is Q on the keyboard. So I've now got those two selected and then I can scroll down in the modeling toolkit and you'll see there are lots of different tools and operations that you can do but in this case I just want to do a bevel. So I'm gonna click on bevel and you'll notice that it opens up a little properties box so you can change what the bevel looks like. So I'm just gonna zoom in a little bit so I can see what the bevel is and I'm just gonna up the fraction by clicking and dragging on the word fraction. I'm gonna up it slightly. I think I'm gonna go for 0.7 I think looks pretty good. Like that, yeah it's pretty nice. And then once I'm happy with that the next thing I'm gonna do is I just want to select these edges at the bottom. So there are three edges here that I want to select. That one, I'm gonna hold shift and select that one. I'm gonna hold shift and select that one. I'm just gonna put it back into wireframe view pressing four just to make sure I've actually got them because it's intersecting the floor a little bit. We're just making it difficult to see. And with those three edges selected I'm just gonna move to my move tool the change time move tool and I'm gonna move on this axis here and you can see that's adding a bit of a slope to the shape. And again I'm just doing that to make it look a little bit more interesting really. Now I'm gonna press five to move back into shader view and then in my modeling toolkit I'm gonna scroll back up and put the pillar back into object selection mode. And then I can move this up against the back wall. I'm just gonna intersect the back wall slightly. And then I'm gonna move towards the back wall not completely up against the back wall. I want a little gap, that's okay. And I'm just final step is I'm just gonna make it a little bit taller just so it does intersect the floor and the ceiling just so that you can't see where it joins really. So from inside the room it should now look like that which just adds a little bit more detail to the way the room looks. What I want to do now now that I've created one pillar I want to duplicate these pillars along the one wall. Now I could do that one at a time and position one at a time but there's actually a built in duplicate option that allows you to create multiple copies and have them at a set interval apart. So we're gonna have a look at that now. So I'm gonna click on this pillar make sure I've got it selected. And then I'm gonna click on edit and I'm gonna go down to duplicate special which means I can duplicate something with additional properties. I'm gonna click on the options box for that. And what I want to do is I want to translate it along one of the axes. Translate is another way of saying move and I'm moving it along this axis along that one wall. And I can see from here that that's telling me that's gonna be the X axis. So I'm gonna put a value in the X box here and it's really easy to know which box is which because it follows the alphabet. So this one here is X, that's Y and that's Z. So under the translate X, I'm gonna put a value of five in. So each one's gonna move five units along. And then the number of copies I want four copies meaning that I'll get five in total. And then I'm gonna click on duplicate special and it's done. And you can now see that in one step I've created a row of these pillars along the back wall which looks pretty cool. In this step we're gonna get onto doing some proper 3D modeling. So we're gonna create a primitive shape and then we're really gonna manipulate that to create a new shape out of it. And the shape I want to create is kind of a futuristic 3D holographic projectory type thing. It looks better than it sounds once it's all finished, trust me. So what we're gonna do is we're gonna create a new cone. So I'm just gonna click once on the cone box there. I'm just gonna drag it out of the ground like so. And then I'm gonna go into the channel box and hopefully you should be able to see you've got an option for the channel box down this side of your screen here. So I'm gonna click on that. I don't want to change a few settings. So I want the radius to be two. The height to be four. Whoops, that's 24. Try again. Two and four. I just want to make sure that that again is not in the ground. That's okay. And then I want the subdivisions axis to be 18 because I don't really need too many. And I want the subdivisions height to be five. And you can see what happens when I'm changing the subdivisions is that changes the number of edges that are there. The more edges you've got, the more detail you can put into a shape. And in this case, because I want to change it in quite a specific way, I know the number of edges that I need. So that's what that's all about. Now what we're gonna do is we're gonna manipulate the vertices of this shape. And what vertices are, are there the points that intersect all the edges. I'm gonna move those around to create a very specific shape. So in order to do that, we're gonna open the modeling toolkit again. And what I'm also going to do is I'm gonna move into one of the orthographic views. So I'm gonna move into my front view. In fact, I'm gonna use my side view because it's a little bit cleaner. There's not, you see, there's a pillar behind it in this view. So click on that. And while I've got it selected, I'm gonna press F so that it fills my screen, which makes sense. And then I'm gonna click on this one here, which will put it into vertex selection mode, which will allow me to select just the verts. There we go. Now in order to do this, to keep it neat, I'm going to work on the shape in rows. You can work on single vertices at a time. That would be one vertex at a time. But I'm gonna work in rows because I know exactly what I'm going for. So I'm going to click and drag on this row here, which is the second row up. So it's not the row right on the floor, it's the second row up. And all I want to do with this row is move it up to about there. So you can see it goes up and then this line comes in slightly. And then the next row up, which would be this row, I'm happy with the position and the size of that. So I'm gonna leave that one alone. But the next row up, again, you can see I'm dragging a box to select all of them. Continue. I'm gonna move this row down to about the same again. So you can see that line's now consistent. But what I'm then gonna do is using my scale tool. And this is important as well. I'm gonna use this middle manipulator to bring that back out. You can see the edge here is now somewhere in between these two. What I do want to show you though, and I'll just do it with the four of you one, is that if I drag from the middle, everything stays nice and circular, which is what I want. But if I was dragging from this axis here, it's going the wrong shape. It's not saying circular or cylindrical or circular. So you need to be really careful when you're doing this to just drag from the middle manipulator when you want to do that. So I'm just gonna get that to be the shape that I want. And then I'm gonna set the next row up. I'm gonna use my move tool to just pull that down again. And I'm gonna try and keep about the same distances I've been using. And then I'm gonna open this out a little bit because I'm actually trying to create a bit of a hollow inside this shape. And then in order to make it hollow, the last step I need to do is select this one point at the top, this one vertex at the top. And I'm gonna move that down so that it sits in the middle of the shape. And you should be creating something that looks like that. And then when you look at it in your perspective view, you'll have this kind of shape, which is exactly what we're looking for. So well done, you. That's some proper 3D modeling there. You really have come on quite a long way. Before we finish with this projector for the time being, I just want to do one more thing to it and that's to create some new faces that we'll use to be a control panel for it later. So in order to do this, what we're gonna do is put the projector into face selection mode. So we've done vertex selection and edge selection. We're now gonna do face selection, which allows you can see to select particular faces. And what I like to do is just select any two faces that are together. So click on one, then shift select to click on another. And this time we're gonna create an extrude. And what extrusion does is it creates new faces. So in this case, it's gonna create some new faces around the face we've got. So we're gonna end up with, I think an additional six faces to accommodate what we're gonna do. Or maybe just an additional four. Math is not much time soon. Okay, so once we've got those selected, we're gonna scroll down. We're gonna click on extrude. And you won't actually see that anything's happened, but click and drag on thickness, and we'll make that 0.1. And then click and drag on offset and make that 0.1 as well. And you'll see that it's now created kind of a raised area with two new faces. And those two faces are gonna represent a control panel when we texture that later. So that is even more proper 3D modeling. That's extrusion modeling there, dude. So you are learning fast. I'm so impressed with you. So before we move on, we're just gonna scroll back up in the modeling toolkit. We're gonna pop that projector back into object selection mode. And then we're going to rename it and call it projector presenter. Okay, well done. Okay, so what we're gonna do in this next step is we're gonna create something that is being projected by the projector that we've created. But in order to do that to make life a little bit easier, what we're gonna do is hide what we've created so far so that it's not in the way. There are many different ways of doing this, but the way we're gonna go with is to put it into a layer and hide the layer. For two reasons. One, it's quite neat. And two, it's a good way to show you what layers are. So the first thing we're gonna do is select everything in the scene. Again, there are multiple ways of doing this. You could just shift click everything like this. One, two, three, four, et cetera. Or you can go to select and select all or you can press control, shift and A and that will select all. So you just need to make sure you've got all the geometry in your scene selected. And then if you can't see it, if you did what I did and you dragged down earlier, we're just gonna drag up and we need to bring the layers thing back. Layers box, yeah. And what we're gonna do is we're gonna click on layers and we're gonna create a layer from selected. And everything we've selected then goes into a new layer. I'm gonna click twice on that and that will let me rename it. So I'm gonna call it room layer. You can't put spaces in this. You can put an underscore in, but for some reason when you're making a layer, you can't put spacing. And I'm gonna click on save. And now there's a little V here and whenever you click on that, that will hide it. So that's the room out of the way for the time being. And what I'm also gonna do now is turn the grid back on because we're gonna use that to position a solar system that is gonna be projected by the projector. So we'll turn the grid back on and then we're ready for the next step. Okay, so now we need to start creating the solar system. So we're gonna start with some spheres and they're gonna represent the sun and some planets. And then we're gonna add a moon and a ring. So the first thing we're gonna do is create a new sphere like so. And you may notice this box comes up because Maya's currently gone to the last tool selected. So I'm just gonna get rid of that by clicking on that little chappy there. And I'm gonna rename this sun and then I'm gonna scale this down to being 0.5 on every axis. Now there are, again, lots of different ways you can do this. But what I'm gonna do is I'm gonna click on scale X and I'm gonna drag, click and drag down to scale Z and it'll select all three of those attributes at once. So if I do it on the actual number, I click and drag down. So you can see now they're all selected. And if I put 0.5 in, which is the size that I want this to be, it's actually made all three of those 0.5 which is another way of just scaling something in a uniform way. So I've done that. What I also want to do, I'm just gonna hide my layers, thinking for a minute. I've got subdivisions axis and subdivisions height. Now, this is actually gonna be a really small part of the scene. So at the moment, I've got a lot of polygons of this. I don't really need that many. So I'm going to just knock this down to 12 by 12. In fact, I'll just put that back. So if it's 20 by 20, you can see it's quite a higher resolution shape. And if I make it 12 by 12, it drops a number of faces, but it'll still serve our need through it well. What I'm also gonna do at this stage is just turn off the wireframe on shaded because I want to be able to demonstrate that this actually now looks quite blocky. And we're gonna look at how you make it look smoother in the next step. Okay, so as we've already established, the edges on this shape that represents a sun, now that we've lowered the resolution of the shape look very, very harsh. So there's actually something we can do to adjust how my treats the shading of these faces and it'll make it look much smoother. So making sure you've got it selected, we're going to go to mesh display. And if you look for soften edge, give that a click. When you deselect, you'll now see that it's much, much smoother. It looks very smooth. The only place that you can now see that it might not be perfectly smooth is around the edges. But as I said, this shape is going to be so small that you won't even be able to see that. So that's the sun ready to go. What we'll do now is create some planets from the sun. So the sun is already roughly in the right place. It's the right size and shape ish. So we're going to duplicate from the sun to create some planets. So I'm going to click on the sun. I'm going to press control and D which is the keyboard shortcut for duplicate. I'm going to just move it out of the sun. I'm going to rename it planet. Make sure I press enter. And then I'm going to scale this down to 0.1. I'm just going to move it so it's about two units away from the sun. So you can see the sun is much bigger than the planet which is as it should be. What you need to do now is create three more planets by duplicating the first planet, make them different sizes and move them along on the X axis. Don't move them on any other axis, just the X axis. So they're all in the perfect line because what we're actually doing is setting these up for animation later as well. So it's important at this stage that they're positioned correctly. So that's what you need to do now. Make sure you've got three more planets using duplicate and scale. Okay, we're now going to create a moon for one of the planets and we're going to create a ring for another. So I'm going to start by working on this first planet and I'm going to just press F to frame that up. I'm going to duplicate it and then I'm going to move the new one out. I'm going to call it moon. And then I'm going to scale that down so that it's really small. It should be something like 0.02, like that. I'm just going to make that look like it's in orbit of that planet there. Okay, so that's the moon done, nice and straightforward. The ring is actually going to start off as a torus, which is this little chappy here that looks an awful lot like a donut. So I'm going to click on that, there it is. And then we need to make some changes. So the section radius needs to be 0.2. So we're working under the inputs here, like so. And what that does is just makes it kind of like a thinner tube. The height on the y-axis, so scale y, needs to also be 0.2. And you can see if we were making a ring for the sun, that would already be perfect. But we're not, we're making it for one of the planets. So all I need to do now is position it around one of the planets, and I'm going to choose this one. And there are lots of different ways again that you can position this, but I want to make sure that this ring is exactly positioned around this planet. So the way to do that is to look what the values are would translate x, and I can see they're 4.955. So I'm going to click on that, and I'm going to copy it. In fact, I'll just remember it, 4.955. And then I'm going to click on the ring, and I'm going to put in 4.955, and then press Enter. And now I know that that is perfectly positioned around the planet that it should be. All I need to do then is scale it uniformly until it looks like it is the right scale, which I'm happy with that. That's beautiful. And then I'll rename that ring. Okay, in the next step, we're going to put this into a hierarchy so that it's ready for animation. Okay, so in this step, what we're now going to do is we're going to create a hierarchy. So we're going to make all of these planets belong to the sun so that whenever we move the sun, everything else will go with it, and it'll also be set up perfectly for animation when we get to that. So what I'm going to do is I'm going to go to Windows and Outliner. And what the Outliner is, is it's a little window that lists everything in your scene. So you can see all the geometry we've created so far is listed. If you've forgotten to name anything, name it now. But there you can see there's my sun, there's the planets, et cetera. And what I need to do is make this planet, so the first planet, belong to the sun. So again, there are multiple ways of doing this. The first way is by using the middle mouse button. That one. And I'm going to click and drag with that the planet onto the sun and then let go. And you can see a little plus symbol appears and when I click on that, you can see that there is now a relationship there. The planet belongs to the sun. So whenever I now click on the sun, it also selects the planet, which is very useful. Okay, I'm now going to parent planet one to the sun. So I'm going to click on it. So I'm just showing you a different way of doing it now. And now I'm going to control click, no, shift click, sorry, the sun. And now I'm going to press P on the keyboard and P is the keyboard shortcut for parent. And you can see that now planet and planet one both belong to the sun. And now what I want you to do is parent all the planets to the sun and then parent the ring to the planet that belongs to and the moon to the planet that belongs to so that your hierarchy is set up so that it looks like a man will in a second. Okay, so when you finished, this here is what your hierarchy should look like. And again, like I said, whenever you now select your sun, it should select everything else, which makes moving this solar system as a whole so much easier. And the reason that happens is through something called inheritance. And what that means is that the child objects will always do what the parent object does in relation to the parent object. So you don't need to follow this, but I'll show you what I mean. So if I was to scale the sun, you'll see that all the planets scale too, but they don't just scale on the spot. They actually scale in relation to the sun. So the gap, the distance between the planets is shrinking as well. So it's almost like they're one object which is really useful. The same happens if you rotate, you can see that they all rotate but they're rotating around the parent object. So they're rotating around with the sun and the same happens with moving as well, which is going to be useful for when we move those planets next. Okay, all that has left for us to do with this solar system now is to select it and position it over the projector to make it look like it is being projected out in a holographic, beautiful way. So, I'm going to close the Outliner for the time being. I'm then going to bring back my layers thingy. Now at this stage, make sure your solar system is already selected because when we bring back the room, the solar system is just going to be kind of right in the middle of everything and it'll be difficult to select. So make sure it's already selected. Click here, which is where the V will go to bring back the room in the projector. I'm going to switch to my move tool and I'm just going to pull that solar system up out of the floor. And what I also need to do is just scale it down because I want it to be kind of believable that from the cone of light that's going to be projected by this projector that they're kind of creating these planets. So they need to be small enough to kind of believably fit within that. So in my case, I've just sort of gone for that kind of size. So they are very small, but if you're getting nice close-ups of this when you render it, it'll look beautiful. Okay, so that for the time being is the modeling done. What we're going to do next is move on to creating textures and shaders and really starting to make this room look like a badass sexy mofo. Oh yeah. Now would also be a very good time to save your work. If you've been following what I've been doing properly, you will have incremental saves turned on and you can check in your save folder of your project to check that. But it's still always a good idea to save the project yourself just in case. So you should do that. Okay, so things are starting to get a little bit interesting and exciting now. We're going to move on to texturing. Now in order to create textures, we need to use another tool within Maya which is called the Hypershade and we need to open that up. So the Hypershade has been revamped a little bit. So if you are an older Maya user, it'll look a little bit different. It freaked me out when I first used it, but I feel I'm all right with it now. Now there are two ways of opening this up, obviously. So you can click on this little chapter here, which is just the quick way of getting to it. Or you can click on Windows and Rendering Editors and Hypershade is in there. So I'm going to open that up and hopefully because I've reset the defaults in Maya, it should just show me a default Hypershade which it has. So I'm just going to maximize this. And as with anything in Maya, it's a good idea to get it set up so that it's how you want it to be before you start working in it. And what I want is a little viewport so I can actually see my scene within the Hypershade because it's a bit of a pain in the bottom if you can't see what you actually texturing. So in order to do that, you can click on Window and I would like to open up a viewport. And you can see it opens up a very, very small viewport. But as you can see that viewport actually shows you your scene, aces. What you can also do with that is you can drop it into your UI somewhere. You can see as I'm moving it around, it's saying, oh, you can stick it here. Oh no, put it here. Yeah, which is really good. And I like it to be here. So I'm just going to click and drag and then I'm going to release when it's going to go there, which is lovely. And then I'm just going to drag some of the windows around the touch just to make that viewport a little bit bigger and manageable. Okay, and then just whilst your mouse is in that window, press five to turn on hardware shading. And now you've got a good idea of what you're applying your textures to. Okay, so this is your Hypershade. You can see that we've got the viewport in there. There's a material viewer here and what this is, it's a shape that previews what material is going to look like when you apply it. So it starts with this weird shader ball thing, which is actually quite good because it shows you lots of different surfaces on one shape. But you could also look what it's going to look like on cloth. You can always going to look like on a teapot if you're into teapots. You might also look what it looks like if it was on a water type splash. But I'm always quite happy with the shader ball. You've got the property editor here, which once you've created a new material, that's where you change the appearance of it. This is your workspace. So this is where all the sort of advanced linking of materials happens. This is kind of, we'll just use this tab at the moment which shows all your completed materials. And this is a create area where you create new materials. So we are going to create a material and the first material that we are going to make is for the projector. So I'm going to have a look in my create panel. I'm going to go to surface and what I would like is a new bling. And what a bling is is it contains properties such as shine, well, it'll let you make it shiny, reflective, et cetera. The kind of opposite to that is a Lambert. We have a Lambert one assigned to everything already. And that is like a Matic. So if you think of a painted wall that would be like Lambert one. One thing to keep in mind as well is never ever edit Lambert one because if I was to make it green, everything in the scene would now go green because that is the default texture that is already applied. So you should try and leave that alone if you can. So I'm going to create a new bling like so. And what I'm going to do with this bling is I'm going to rename it and I'm going to call it projector M. And the reason I put the M on is just so that I know that that represents a material. Like that. What I'm then going to do is I'm going to change the color of this material. So in my property editor, you can see that there's color here. Now there's the slider so I could just make it either black or white or I can click on the actual color rectangle here which I'm told is called a swatch and I can choose a color. Now I quite like a really deep blue. I think that was quite nice. So I'm going to choose that kind of color. And again, you can preview what that looks like on different materials just to get an idea of how that's going to come out. But I'll keep it on the shade of all. The next thing I'm going to do is change how this reacts to light. What I want this to look like when it's assigned is kind of a glossy plastic look that Apple seemed to favor in the late 90s, early 2000s. So I'm going to try and replicate that as sort of really shiny plastic. So the first thing I'm going to do is change the specular color. I'm going to make that a much lighter gray. And that should make, if you can only just really see it changing a bit, it makes the highlights a little bit brighter. So I'm going to go quite towards the bright hand side on that. I'm also going to change the eccentricity to 0.1. And you should notice when you press enter that the highlights, the light to be reflected gets a lot more focused. There you go. So it's now a lot more sort of shiny looking. It looks more polished. I'm also going to change the specular roll off to 0.85. And that'll just make those highlights become a little bit stronger when I press enter. There we go. And the last thing I'm going to do is change the reflectivity to 0.3. Now you won't actually see an effect of this in your material preview, but when we start rendering later, it will just mean that this will reflect objects off it, but the reflections won't be too strong because we don't want it to look like a mirror. So I'm just going to change that to 0.3. Okay, now that that material is complete, we're going to assign it to the projector geometry. Now of course, there are multiple ways of doing this, but the first way we're going to do is just by dragging it on. So here you can see there is our projector material and here is our projector. So in order to assign that material to it, I'm going to using my middle mouse button, click on the projector, and then I'm going to drag over the projector here and I'm going to release. And then you will see that that material is now assigned and if we move around, we can see how that works where all those sort of reflections of light are going to go. So yeah, really nice, I'm happy with that. What we're going to do next is create a material for the sun. So the first thing we're going to do, you may have noticed, if I just press A with my mouse in here, you may have noticed that something was created in here when we created the projector material and this actually represents how that material is being made. When we create the sun material, it will also put something in here and I'll just put it on top of the projector stuff. So it's always a good idea before you make a new material to just clear your work area. And to do that, it's just this icon here, give it a click. Oh, it won't ask you to save, that's just bad timing. Give it a click and now you've got a clean work area. It doesn't really matter for what we're doing at the moment, but as your materials get more complex, it can get quite messy. So good idea to start with a clean one. I'm also going to create a new material. So this time I want a Lambert because I don't want my sun to reflect anything. So I'm going to create a new Lambert and I'm going to call it sun M, for centre. And the colour of this, I would like to be a nice bright yellow. So I'm just going to click on that yellow there. And I'm going to add incandescence to this, which is kind of the low lights of it. And when we sort of do this later, it's going to create a really nice go. So you want a dark yellowy orange sort of colour. So I'm going to bring in some nice orange there and I'm just going to make it a little bit more kind of a burnt orange sort of look. Maybe a bit more into the red spectrum. Yeah. So that is now my sun material. And I'm going to assign that to the sun. So I'm just going to frame up the sun in the work area. And I'm going to assign the material in a different way this time. So I'm making sure that I've got the sun selected. Then I'm going over to the sun material. I'm going to right click and hold on that. You'll see a radial menu appears. And at the top of that is assigned material to selection. So I'm going to release and you'll see that that texture is now applied. It will also apply that to all the planets. Don't worry about that. That's supposed to happen because of the hierarchy we set up. And we will texture over that later. Okay, we're now going to create a material for the pillar. But this is going to be a little bit more complex than the two materials were made so far because we're going to fade quite a textured look down at the bottom of the pillar into a flat colour at the top. So it's going to take a little bit more work. So for that reason, it's very important that we clear the work area first. We're going to create a new Lambert. So create a new Lambert material. I'm going to call it pillar M, making sure that I rename things very carefully. And instead of just changing the colour, we're actually going to create a connection to a different type of node. So if I click on this little checker box here, it will open up the create render node window. There it is. And what I would like to connect to this is a ramp. So I'm going to click on ramp there. And in my property editor, I will get the properties for this ramp that I have set up. And you can see at the moment, it's creating a shade that fades from black through to white. Okay, so what I'm going to do is I'm going to click on this dot here, which allows me to select the white colour in this ramp. And I just want to change that colour. I'm going to use the slider down to quite a dark grey. Like that. So I'm happy with that. That's a nice dark grey. And then because I want this dark grey to take up most of the texture on the pillar, I'm just going to move this dot about three quarters of the way along, maybe about two thirds of the way. And you can see now most of this texture is going to be this grey colour with a little bit of the other colour at the other side. Okay, so as it stands, we've got a texture that fades from black to dark grey, which is okay. And it's more complicated than the texture that we previously created. But we can do a little bit more with it. So I'm going to click on this black dot. And you can see now I'm working on the black colour of this ramp. And instead of just choosing a colour, I'm going to add a little bit more of a texture effect to it. So I'm going to click on the checker here. So I'm going to make another connection. It's going to give me a lot of options that I can choose from. I'm going to scroll down in here. And the one I'm looking for is rock. So I'm going to click on that. And now I have some options for this rock. And I can change those to suit my purposes, the look I'm going for. So I'm going to change colour one to a very dark brown. So it's already fairly brown, but I think I want it a little bit more into the orange side of brown. I'm going to bring this slightly down here. So that's a nice dark brown. This is going to represent kind of dirt at the bottom. And then I want to change colour two to a very dark gray. I actually want this to be almost black like that. And you'll see this is an example of how this is going to look at the bottom of our texture that we're creating. And what we're going to do then is we're going to apply this to one of the pillars. So I'm just going to move around in my room. I'm going to find a pillar. This one here we'll do. And it's important when we apply this that we look at the bottom because that's where that texture-y sort of looks going to be. And I'm going to right-click on it and choose Assign Material to selection. You may notice that you can't really see the effect of this. And that's because the current renderer, so the software that Maya's using to preview the scene in this window, doesn't show this particular type of texture very well. So we're going to change the renderer to another one that will show it off a little bit better. So I'm going to click on renderer and the moment it's set to Viewport 2.0, which is actually the best of the three available. But sometimes you want one of the different ones. So I'm going to choose Legacy Default and Viewport, which is actually the worst of the three, but it does show this particular type of texture really well. But you still can't really see what's happening to the texture and that's because there's one more thing we need to change. At the moment, the texture view that we've got only really shows colors and not textures that are connected to the color node. In order to show that, we need to move on to hardware texture in mode, instead of hardware shading mode, which is what we're currently at. So in order to change that, we're going to press number six on the keyboard. And now, if we zoom in on the bottom of the texture we've created, you'll be able to see that it's a little bit texturing and dirty and a little bit more interesting than the gray that was on the other ones. So you can now apply that material to the rest of your pillars. And then we'll be ready for the next step. Lovely. Okay, what we're going to look at next is using image files as the color, rather than just a flat color, which is the sort of texturing that you see in most games and films, etc. So these are the textures that look really high end and much better. Before you can do that though, you'll actually need to download the texture files that we'll be using for this exercise. So the link can be found underneath the video and you need to make sure that you download each of the images and that you put them in the source images folder of your project, because that's where Maya expects your textures to be. So I've already downloaded them. So you can see here, there they are. So that's all the images there. And what I need to do is just copy them into the source images folder of my project. There we go. So now Maya will know where to look for these. Okay, so we're going to create a new material for the crates. Now it's a wooden crate and wood generally doesn't reflect, so we're going to create a Lambert for this. Before I do that, I'm obviously going to clear my work area. I'm going to create a new Lambert and it's going to be called Crate M. Crate M. Lovely. And again for the color, instead of just choosing a color, I'm going to connect a new render node. And this time I'm going to scroll back up to the top. I'm going to choose file. Awesome. And then it'll take you through to the properties for the file. You don't really need to change anything, but the one thing that you must change is the image name. And that is where you tell it which image you're going to use. So I'm going to click on that and you'll see that it takes me straight into my source images folder because that's where Maya expects your texture files to be. And the one we're going to use is called Crate Diffuse. And Diffuse Maps are what the pros call the color texture maps really. So it's Crate Diffuse. And then you can see on your shader ball you've got a preview of how that would look if it was applied to a shape that wasn't really suitable for it. But you now have got a Crate Material. So again, as we've done in previous steps, you can assign this Crate Material to each of the crates like so. And at that stage, things will start to look much, much sexier, which is of course all we want. So one, two, three. Nice. What we're going to do next is we're going to look at how you assign textures to specific faces. So at the moment, we've just been assigning textures to shapes as a whole. So it assigns it to all the faces at once. But you may need to just assign to specific faces sometimes, as we need to do if we're going to texture the floor, we're going to have to have just that one face done. We don't want to texture the walls with the same texture. So in order to do that, we shall be creating a new material. So I'm going to clear my graph. I don't want my floor to be reflective. So I'm going to have a new Lambert. I'm going to name that Floor M. And I'm going to, in the same way that we've just done for the crate, I'm going to click on this checker pattern button. I'm going to choose File. And then for the image name, I'm going to choose Floor Diffuse. There it is. So it's just a kind of metallic panel looking thing. I'm going to click on Open there. And then it's all about how we apply this. Okay, so we need to put this into face search and move. Now we could complicate things by going back into the modeling toolkit for this, but there is an easy enough way to do it. If we just right click and hold on it, you'll see that a context menu pops up and we can put it into face mode from here. And then I'm going to choose this face, which just represents the floor. And I can now find the floor material, right click, and choose Assign Material to Selection. And then when I deselect, you should be able to see, if I can do object mode, that that is now assigned to the floor. I'm going to turn off the grid just so you can see a little bit better. There you go. So that is how you assign a texture to just one face. I could have selected two faces or 12 faces and assigned it just so. So it's about assigned to specific faces really. Okay, so the floor actually looks okay, but as I'm sure you probably have already guessed, it's actually a tileable texture. So it's meant to be tiled multiple times. So what we're going to look at is how you tile textures within my, or one of the ways that you can do that. So I'm assuming that you can still see your floor material within your work area. And you can see there are lots of nodes. Now, oddly, Maya puts these on top of each other to begin with, which is a bit of a pain in the ass. But you're looking for this out UV. And this actually deals with, there it is. You can see place 2D texture 3, it's the placement node that we're looking for. If you click on that, it'll bring up the placement properties for the material. And we're actually looking for repeat UV. And that's how many times it repeats in each direction. So if we just make this 2 by 2, for instance, you can see that that's now been tiled twice in each direction. So we've got four tiles in total. And I think what I'm looking for in this scene is I'm going to tile it 10 times in each direction. And that'll kind of make it look quite high resolution like that. So that's how you go about tiling textures. So once you've done that, we'll move on to the next step, which is adding the control panel texture to the two faces on the projector. So the next step is to texture the control panel on the projector. So the first thing we need to do is create the material for it. So it's the same process we've been working through time and time again. So it's clear the work area. This time I'm going to create a new blend because I want the control panel to look like it's kind of a shiny glass monitor. So I'm going to leave reflectivity alone on this one. So I'm going to click on the checker box next to color, choose file, and then under image name, I'm going to choose control panel diffuse, like so. And then that's the material made. Then what I've got to do is just find those two faces that I created earlier. So again, I'm going to have to put the projector into face mode. And I'm going to click on one face and then shift click the other so they're both selected. And then I can right click. Oh, hang on. Before I do that, let me rename it. So I'm just going to call this I'll call it monitor M. Okay, so I just have to select my faces again now. And then I'm going to assign this material to selection. Okay, so what you're going to notice at this stage is that the texture has been assigned but that it doesn't fit. Now, with Maya, there are again, a multitude of ways that you could fix that. But I'm just going to choose the simplest for this stage because this is a beginner's course, really. So I'm making sure that you've still got those two faces selected. We're just going to minimize the hyper shade for a moment. If you can't see your texture in this view, just press number six. There it is. And then what I'm going to do is whilst those two faces are selected, I'm going to click on UV. And I'm going to use contour stretch, which is going to be a little bit more which is a new, you can see it's got the green right and it's a new option for this year. But what it does is it tries to fit the material as accurately as possible based on the faces you've got selected. So I give that a click and then go back into object mode. You can see that that actually now fits really nicely, which is what we're looking for. So we've now got that completed. Lovely. All that's left to do now on the texturing is to complete the scene. You've no doubt noticed that there are a lot of other texture files within the source images folder that you've downloaded. So what you need to do now is just create those materials and assign them to the right materials. You will need to tile the material for the wall, but you'll only need to do that, I think it's on the U direction, not on the V or vice versa. So give that a go and then once you've completed that step, we will move on to lighting and putting some nice render effects in the scene. Once you've got everything textured, you can close the hypershade window because in the next step, we won't be using it. Okay, so once you've got all the objects in your room textured, it should look something like this. So if we just have a quick look around mine, I'll just up the lighting a little bit so you can have a good look. Because of the way that a cube is laid out, one of your faces will be upside down. That is fixable. We're not going to cover it in this tutorial, but it is dead easy to fix. And everything else looks quite nice. And what we're going to cover now is putting some lights into the room and making it look super sexy. So what I'm going to do now is I'm going to make sure that this gamma preview is off because it makes a big difference with lighting. This, the darkness of the room now looks a lot more like what the rendered will look like than when you turn gamma on. So we're going to leave it off and then what we're going to do is we're going to add a light to the scene. We're going to add a point light. Which, if you imagine, sort of like an old-school light bulb or something like the sun. So it's a light and then light is emitted in every direction. So we're going to create one of those and that's going to be the main source of light in the room, really. So to create a light, you click on Create Lights and go to Point Light. Okay, and there it is. So you may or may not see two manipulators. I'm just going to go to the Move tool though because I only really want to see one manipulator. And then what I want you to do is move it up out of the floor and then you want to be able to see the effect that this light's having. So I'm going to press number seven on my keyboard and then as I move that around and up and down, you'll see how that's affecting the room. It'll be having an effect on it. Which is really nice. Okay, so I'm just going to move that up a little bit. I might just turn the gamma on just for now. Just, this is too bright but it does allow you to see kind of what's happening. So I'm just going to raise that up a little bit and I'm happy with that. That's okay. What I'm now going to do is I'm going to change a couple of the attributes of this light to get it to look how I want it to look to fit the mood that I'm going for. Now in order to do that we need to open the Attribute Editor. We've not used that yet, but it is a big part of Myron. You'll be using it a lot as you get into the software. To open that up, if you press Ctrl and A on your keyboard, it should immediately pop up. If it doesn't, press Ctrl and A again. Sometimes it cycles. So if I keep pressing Ctrl and A, it'll cycle between the channel box and the Attribute Editor like that. But I want the Attribute Editor. And you can see that here I can change the color and I can change the intensity. Now I want to take the intensity down. Intensity is just like the brightness of the light. I'm going to turn that down to 0.3 because I want the room to look quite moody. And then I'm also going to go down to the Shadow section. I'm going to leave the shadow color as it is and I'm going to use Depth Map Shadows. And I'm going to use a resolution of 1024. And that just makes them a little higher quality than they would be at 512. Okay, so now we're going to work on setting the viewport up to give us the best preview of the light so that we can see what we're doing. So make sure that you are using Viewport 2.0. And we're going to turn off the gamma correction again because we do want it to look as close to the way the real light is looking as possible. So it is quite dark. But remember that as you preview and you're seeing, if you need to turn it back on at any point, you can just click on that and allow you to see a little bit better. But trust me, the darker one is a more accurate representation of the room we're creating. So we'll leave it off for the time being, but we'll turn it on as and when we need it. Okay, so you might have noticed that even though you turned Shadows on in the previous step, you can't see any shadows in your scene. Now that's happening for two reasons. The first reason being that we've not turned Shadow previewing on, which is this button here. But the second reason, and the more important reason that kind of overrides it is that Maya doesn't preview shadows on point lights for some reason. I'm sure there's a really good explanation, but all I know is that it just doesn't do it. So the only way to see what the shadows look like is to do a test render if you see. So what I want to do is just make sure that I can see my scene quite clearly. And what I want to do is just frame up so I can kind of see behind the crates because that's where the shadows are going to be cast. And this is very important. At the moment, I know that there's a wall in the foreground being hidden. And I need to make sure that I am inside the boundaries of the wall because if I do a test render on the outside of the wall, I won't be able to see anything because although we can see through the walls in the preview, it doesn't work like that when you render and it will put them back. So you need to make sure you're within the room. If everything renders completely black, it just means that you need to move your camera a little bit closer in, that's all. Okay, so to perform a test render, you need to click on this clapperboard here, which is the second one along which will render the current frame. Before you set up the test render, what you need to do so that you know exactly what's going to be in frame and what's not because this rectangle here can change shape very easily. I could do that and you see it's not always going to render everything you can see in shot. So to make sure that you know exactly what's going to render, you need to click on view, camera settings, and then you've got these gate options. On resolution gate, we'll put a rectangle on your screen. Anything you put within this rectangle is exactly what's going to render when we click on the render button. So in order to perform a test render, what you need to do is just click on this clapperboard here and there you can see the lights hitting the crates and behind that, we have some rather beautiful looking shadows which is exactly what we're looking for. So so far, things are going beautifully. One other thing to remember is that gamma correction is also on in your preview render. So if you want to see an accurate representation like a raw version of the image, because the gamma correction is a post effect, it's a post processing effect. It's not actually what the image looks like. If you were to open it in Photoshop, it'd be much darker for instance. So you can turn that off and this is what it really looks like. And again, it probably does look very dark, but we are going to be adding a lot more. Well, we're going to be adding some more lights to this scene and we need it to be dark so that those lights really show up because we're going to be using glow effects and things like that. So that's how the image should look. That looks beautiful. And I'm also just going to turn off the resolution gate for the time being. And now what I'm going to do is I'm going to place another light in. This is where it really starts to get sexy. I'm going to put a spotlight in the projector and we're going to be able to see that light kind of hitting the particles in the air or we're going to give that effect and that's going to look very, very cool. So the first thing you need to do to do this is create a new spotlight. So we're going to go to create lights spotlight. Now, if like me, you've left your projector in the center of the room. It makes it quite easy to position the spotlights. We need it to be within this projector into the bit that we hollowed out earlier. So what I'm going to do is I'm just going to change to a different view. I'm going to use the side view and I'm going to rotate the light so that it's facing up. And I'm just going to rotate it part of the way. I'm going to do it all of the way because I can then move into the channel box and I can see that I've rotated it 68 degrees on X. So if I can just type 19 there, I know that'll be pointing straight up, which is what I want. I also want to move the light up slightly. So it's just kind of protruding from the shape. And now I'm going to go back into the attribute editor. The next thing we're going to do is we're just going to change the cone angle. So at the moment, you can say this green cone represents the angle that the light is going to shine at. And we want it to look like it's coming out of this cone that we've created within the projector. So I'm just going to scroll down a little bit. You can see there's a cone angle there. And if I just move this slider, you'll see that the cone angle changes on the light. And I can match that up with the projector like that. So that's beautiful. What I'm also going to change is something called a penumbra angle. And that affects the softness on the edge of the light. If you want to see that in action, just create a spotlight in a new scene, shine it at something, and change up a number angle, and you'll see what it does. But what I want to do is just type 30 in that box, and it'll stop the edge of the light being like a perfectly drawn line. It'll kind of fade, which is what we're looking for. As things stand with this light though, it wouldn't be visible in the air. It would just, if you looked up at the ceiling, you'd see a circle of light, but you wouldn't be able to see it in the air. And to do that, we need to create a light fog. Before we do that though, we're going to set the color of the light, and we're going to change that to being kind of a pale blue. So I'm just going to... Where am I? I want to choose that kind of color. So my light wants to be a nice pale blue, which is beautiful. I'm also going to add a decay rate to the light, because I don't want this to necessarily light the ceiling. I want it to only go so far. A decay rate means that the light dies off over distance. So I'm going to add a quadratic decay rate, which is perfect for what I need here. And it'll just mean that the further away from the projector the light gets, the more it dies off, which works really well with the fog that we're going to create. So now we'll add the fog. You need to scroll down a little bit to the light effects section, and we're going to open that. And you can see that there is a light fog option. Before we change anything though, before we create the fog, we're going to make sure that the intensity of it is up a little bit. So we're going to turn that to five and press enter, and then we're going to click on the button to add a light fog to the light. And then I'm going to add a slightly darker blue colour to the fog, like that. And that is the light fog complete. So the preview in my doesn't really show the light off. So what we're going to do is we're going to go back into my perspective view. I'm just going to frame up a shot with the projector in view. So something like that, I think. And then what I'm going to do is just test render the frame to see what this glow looks like. So here we go. So there you go. That's the effect we've created. So you can see that there is now a blue light, and the idea is that that light is part of the holographic projection that's been created. Again, I'm just going to turn this off so you can now get a better feeling of why the room's so dark because there's a projection happening, and that's quite bright in the scene, which is what we wanted. So that is another light placed, and we're making some damn fine progress. Yes. Okay, I'm going to close that window. So now that we've made that beautiful light shine out the projector, the solar system itself looks a bit crap. So we're going to add some effects to that to make that look better as well. So the first thing we want to do is just click on the sun, and then we're going to open the hypershade. Any second now. Come on, hypershade. You speedy mofo. There we go. Right, I'm just going to clear my work area, and then this little icon here graphs the materials on the selected object. So if I click it, it will show me the material that is currently on the sun, and here you can see the options for the sun material. Now at the moment, in your property editor, you're currently using something that's called the look dev preview. Which comes with a lot of the most common options, but not all of them. So we're going to change that by changing to, which one is it? That one. So toggle between look dev view and attribute editor view. So if I give that a click, basically this window changes a little bit, but we've got some more options. And if we scroll down, we're now going to get a special effects section. I'm going to expand that, and there's a glow intensity. And I'm going to turn the glow intensity up to 0.5. Okay, now this is a post-processing effect that's going to make the sun look super A. So if I do another test render of that particular scene, you'll now see that the sun itself is looking much better, because it now looks like it's emitting its own light, which gives a much nicer effect. Okay, so we've now got a very cool looking sun, but there is one small issue with it. And that is because this glow effect is post-processing, it doesn't actually emit any light. So it looks like it is, but we should be able to see on the sides of the planets that light from that sun is hitting it, but it's not. It's only being created by that point light that we created earlier. So what we're going to do is create a new light and add it to the centre of the sun, and we're going to use that to make it look like the sun's creating some light. Okay, so what we're going to do to do that is we're going to create a new point light. So create light point light. Now we've created that, and it's selected by default. And what we're going to do is with that selector, we're going to shift-select the sun, and I'm going to press P, and that parents the light to the sun. You may get this error here, and I don't know what that's all about, but ignore it because it doesn't really hurt anything. So now that light is parented to the sun and we've still got the light selected. So if we go into the channel box, you'll see that it's at a position of minus 24 on Translate Y, and that's because it's taking its position from the sun. So if we set that back to zero, and if you've moved things at all, set them all three of these back to zero, that moves the light to the center of the sun, which is where we wanted it to be, which is very handy. Okay, so that's okay. We can now go into the Attribute Editor. And just change some of the attributes of this sun. So the color needs to be kind of yellow. We need an intensity of about 2.5, which will seem very bright, but that's because there's no decay rate on it. Yeah, we'll add a quadratic decay rate, and now, if you zoom in on the planets, you can see that that light is just hitting the size of the planets, which is really good. And it'll look really nice when you render it. And if you go further through my exercises, when you start animating and rendering that, that'll look superb. Okay, there's one final thing we need to do to this light to make it look really sexy. We're going to add a lens flare, which kind of makes it look like there's a mark on the lens of a camera, which is a subtle effect, but it makes everything look a bit more sexy and expensive. So we're going to make sure that the light is still selected. If it's not still selected, you could always go into wireframe and select it. Okay, but I've got it selected. And then what we need to do is if you scroll down a little bit, there's a light effects section, and we're looking for a light glow. We're going to click on the checker box next to light glow, and that will create a new node, an optical FX node. And it's dead easy to set up this. You're just going to put a tick in the box for lens flare and make sure the glow type and the halo type are set to none, and that'll create a really nice lens flare. To be able to see it well, you might have to zoom in quite far, quite close on your sun, but if we render that now, come on, sun. There you go. And you can see these little spots here are the lens flare. And again, these look nice when they're rendered, but even better when they're animated and rendered because they kind of move around a bit as well. So that's the sun complete. And I think it looks damn sexy, damn sexy. Close that. Okay, now that the scenes started to come together, we're going to take a look at the render settings. And that means that when we're rendering, everything is going to be a little bit higher quality because we're going to change some settings. So to get to the render settings window, is this icon here, which is the display render settings window. We'll give that a click. And there are a few things that we want to change. What we're going to do first, we're going to go into the Maya software tab. I'm going to change something in here. So by default, the overall quality is set to custom, which I think is Maya code for crap. So we're going to change custom to intermediate, which is not the best, but it's a good tradeoff between quality and render time. And then we're just going to scroll down a little bit further and we're going to turn on ray tracing. Ray tracing handles things like reflections, high end shadows, where the light reflects, refracts, bounces, things like that. So it's really good to have that turned on. That's the thing that in a second is going to make the projector look really sexy because that's now going to start reflecting. And then we're going to go into the comment tab and we're going to scroll down until we find the presets. By default, it's at HD 540, which is okay, but it would be a little bit better if it was at HD 720. You can go higher if you want, but for my purposes 720 is enough. And then click on close. Now frame up a beautiful shot of your room. I want to get my creasing shot, I think. So I'll try something like that. Do a test render and see what it looks like. So you should notice straight away that the window is a lot bigger, but also that it's taking much longer to render. And that's because it's doing a lot more complicated stuff with it. It's working a lot more out. Straight away, you can see that the reflection on the projector is working. It's actually a little bit over the top. I think that's more to do with the placement of my light than the reflectivity being too high. But I could turn that down or I could reposition the light. You can see everything's looking much nicer now as well. So I think what I will do, so I'm just going to move this light, if I can select the light. So I want that light and I'm just going to try and move it off-center, like that. I'm just going to render again now, just to see if the reflections on the projector are a little bit less ridiculous. Any second now? Yeah, so that's nicer. So it's still very shiny, but the colour's coming through and it's got that polished plastic look that I was going for. And don't forget to get a real idea of how your scene is going to look. Don't forget to turn the gamma correction off and that'll give you a nice overall look. So very moody, very gritty, but very sexy. Okay, so what we're going to start doing now is adding some final details to this room. So we're going to make it look a little bit more beautiful for rendering. And we're going to learn a few more skills along the way. So the first thing we're going to do is put in like a giant window. So the idea behind this room is that it's for some reason in orbit of Earth. I don't know why it just looks cool. And we're going to put a window in one wall so that we can see out and we can see Earth in the background. So in order to do that, we're going to select the room. We're going to open up the good old modeling toolkit again and we're going to put it into face selection mode and we're going to make sure that we select that face. Yeah, so this one here is going to represent our window. The next thing we're going to do because we want to create a window frame is we're going to scroll down and we're going to choose to bevel. And you'll see it's not worked out particular well because it's going too far, but it has now put a frame around the edges like that, which is what we want it to do. But it's a little bit over the top so we're just going to take the fraction down to about 0.2. Like that. So that now gives us a frame. The only other issue with it really is that it's set back. You see? So I'm just going to select that one face there and then with my move tool I'm just going to pull that back so it's level. And what that's done is put a frame on and it means that we can set this bit back a little bit to create kind of an indented window. In fact, what I'm going to do is I'm just going to move it slightly inside the room just to really exaggerate what's happening with the window. So you can see that I've kind of done a reverse of what was just happening. So it's now slightly inside the room. Okay, the next step is to create an extrude so that we can push that face back and create the window itself. Now you can either click on the extrude button here or if you're a keyboard shortcut lover you can press Ctrl and E and that will create an extrude. It will create this universal manipulator tool and you can see that there are scale options. There are move options and you can click on this to rotate. But what I always like to do after I've done an extrude is just switch to the tool I want which in this case is the move tool. And I'm going to move that face back a little bit to create kind of an indented window like that. And then once you've finished put it back into object selection mode and in the next step we're going to have a look at creating a transparent material to represent a window pane. Okay, so we're going to create the glass. We're obviously back into texture here so we need the hyper shade open again and we're going to create a new material. So clear the work area and we're going to create a blend because this is going to be reflective and shiny. I'm going to call it glass M and then I am going to give it a color I'm going to give it a tinge of kind of blue so kind of a cartoony filter window. But you're not going to be able to see because I'm going to take the transparency almost down to the right. So you can see this is kind of the effect that it gives so it's quite see-through. And then we just need to apply that material in the same way that we would any other material. So I'm going to put this into face mode so I'm right clicking here choosing face and choosing the face that I want to apply it to and then I'm right clicking on my glass material and I'm going to assign that material to selection like so. Now that creates a really cool glass material so for the time being we can close the hyper shade again and if you want to you can create a quick test render or be seen with the glass in place to see what sort of effect that's having. You won't be able to see much because there's nothing outside of the window yet to see but you should be able to see that it's black and that there are reflections on it. So there you go that's my glass at the moment it just looks kind of like a mirror but once we put something outside the window that is lit it will look very cool. Okay so now we've got the window we need to have something outside of the window so we can look at it. So we're going to create kind of a bigger earth. So in order to do this we're going to create a sphere. We're going to move it outside the room we're going to make it super big move it a bit further away from the room like that and that's kind of it for this step. I might just move it slightly over so we can see just one side of it like that maybe move it down a little bit as well. So I'm just thinking about when I'm looking through the window what am I going to be able to see what's going to look interesting. So I'm quite happy with that. So the next step we need to think about texturing this. So we're going to texture the earth now. We've already created an earth texture which is on the projection of the earth which is there very small and we could just reuse that but you're actually going to do something a little bit more high-end to this one. So that kind of means that we can't use the original shader that we've created but we don't want to start from scratch so what we'll do is we'll create a duplicate of the original earth shader and we will then make changes to that one so we'll leave the original alone. Before I do that though I had just got to do something I need to rename the sphere I created I'm going to call it big planet like that and then I need my hyper shade open. Okay so the first thing you need to do is locate your earth texture I'm just going to select that for now so I'm going to click on edit duplicate and I'm going to choose shading network. So you can see now I've got earth M and earth M1 so earth M1 is the copy I'm just going to rename that to big planet M like that so I've not changed anything about this material yet but I am going to come back to it later and I'm just going to assign the big planet M to the earth there it is so that's looking kind of cool now what we need to do is light the planet so if we look in this scene at the moment you can see that the planet is it looks like it's lit but once we render it you can't really see it because our lights have got decay rates on them so what we're going to do is we're going to create a new light just to light the earth from one side to look like it's kind of been lit by the sun so it's create light spotlight and now I'm going to put my move tool on and I'm going to move this light out here so that it's lighting the side of the planet okay and what I want to do is I'm just going to rotate this around slightly but I'm going to have to increase the cone angle so I'm into the attribute editor now so that it kind of covers the whole planet and we want to be careful here to make sure you only get the planet if you go too far it's going to start hitting your room you see that's now hitting my room so I need to make sure I don't go too far I'm just trying to hit only the planet and I'm going to turn up the pin number angle as well just to keep it soft if I can so now when we go inside the room and we look through that window we should be able to see that the planet is being lit from one side so it hopefully kind of looks like it's maybe just becoming more in somewhere in the world so when this finally finishes rendering there we go that's the effect we're going for so you can see the earth is being lit from one side and it looks quite nice so I'm happy with that we'll move on to the next step so the next step is to add a little bit more detail to the shader for the big planet and that's really going to make this look really really cool it's also going to introduce you to bump maps so because we're working on the shader we're going to go back into the hyper shade and we're going to select well we'll clear the work area first and we're going to select the big planet material now what we're going to do first of all is we're just going to add a glow to the planet and that's going to give the effect that it's got like an atmosphere like our own planet has so we're going to scroll down we're going to click on special effects and I'm going to put a glow intensity of 0.5 we're going to test render this in a minute if it's too bright we're going to turn it down if it's not bright enough we'll turn it back up what we also need to do now is make new connections so we're going to add a bump map to this so in order to do that we're going to find where it says under the common material attributes bump mapping and we're going to click on the checker box that's going to ask us what we want to connect we're going to choose file and then that's going to take us through to this file node so here you can see bump depth now we're going to need to come back here in a minute and I'm going to have to show you how to do that but before we can change the bump depth we need to attach an image to be the bump map and all the bump map is a black and white image well it's a grayscale image anything that's black doesn't appear to be raised up anything that's white appears to be very raised up and anything in between varies so I'm just going to click on this little arrow chappy here which will take me through to the connection which is the file node and from within the textures folder I'm going to choose earth bump and you can see that's the type of image I'm talking about and as soon as I assign that you can see straight away that this preview here is now showing a little bit of bumpiness which is what I wanted to happen okay so now what I need to do is just within this preview I'm going to change the renderer to make sure it's on viewport 2.0 because the legacy default viewport doesn't support bump apps and I'm just going to make sure I can see the planet there it is and you can see straight away what the bumpiness has done it probably looks too bumpy though so now we need to look at how we refine that and within your work area you're looking for a bump 2d1 node it should only be there because we've just created the connection but let's say for some reason it isn't so we'll clear the work area the way to make sure you can find it is click on your big planet material and I'm going to right click and hold and choose graph network and that then will show up all the different nodes that make up this shader and from there I can click on my bump 2d1 node and then I can mess around with the bump depth and you can see as I change the slider it affects how bumpy this appears I'll try something like 0.35 and now I'm just going to do a test render to see how that's looking and there's the result so I can see that the glow intensity is probably a little bit too high so I think I'm going to knock that down to 0.2 but you can see the bumpiness does not look too bad it's possibly a little bit strong so I might just knock that down slightly and I'll knock the glow down and then I'll render again to see how that looks okay so the glow is possibly still a little bit strong but I'm happy enough with it and I'm happy enough with the way that the bump map looks as well so that brings us to the end of my introduction to Maya 2016 tutorial following on from this there will be my introduction to animation in Maya 2016 tutorial so if you click the link or follow the link below to move on to that it uses this exact same project so it takes where you are now and we move on to animating cameras within the room animating the planets so it very much builds on this but it is also its own thing so keep that in mind if you have found this particular tutorial useful then I highly recommend subscribing to my youtube channel the link is on screen you will also notice that there are some other bump maps and different texture files within the source and we just folder that you've downloaded so if you want to apply those for instance the bump map on the crate looks quite nice then you should do that as well just continue building on your skills thanks for watching and I will see you in the next video