WEBVTT 00:07.200 --> 00:08.480 So today we're going to be looking at 00:08.480 --> 00:11.120 creating digital elements. 00:11.360 --> 00:13.360 We've looked at planning and production. 00:13.800 --> 00:15.920 We have our footage, we know what we're 00:15.920 --> 00:18.160 going to do, and now we have to create 00:18.160 --> 00:21.040 some digital elements. This is the next 00:21.040 --> 00:22.560 phase in the pipeline. 00:24.160 --> 00:26.880 Often times when you're working 00:26.960 --> 00:29.200 on a visual effects shot, 00:29.560 --> 00:31.200 When you have a visual effects shot 00:31.200 --> 00:33.600 that's going through the pipeline, you're 00:33.600 --> 00:35.840 going to need, we're going to end up 00:35.840 --> 00:37.840 needing some 00:38.560 --> 00:41.480 digital elements. So it's not just 00:41.480 --> 00:44.000 going to be compositing footage together. 00:44.440 --> 00:46.800 I mean, that does happen. Sometimes you 00:46.800 --> 00:49.680 do have a chroma keying shot. You 00:49.680 --> 00:51.040 already shot the background. It's not 00:51.040 --> 00:52.200 going to be a digital background, it's 00:52.200 --> 00:54.240 going to be a real background. Then you 00:54.240 --> 00:56.680 might not need any digital elements, but 00:56.680 --> 00:59.240 oftentimes. You're going to either be 00:59.240 --> 01:02.160 putting a digital object 01:02.160 --> 01:04.640 or character on a real background 01:05.280 --> 01:08.160 or a real 01:08.160 --> 01:11.040 character, a real actor on 01:11.520 --> 01:14.480 a digital background into a digital 3D 01:14.640 --> 01:17.280 environment. So some 01:17.280 --> 01:19.440 examples of just different digital 01:19.440 --> 01:22.160 elements that are used and that you 01:22.160 --> 01:24.880 might need to create. Are 01:24.880 --> 01:27.520 character models. So that could 01:27.520 --> 01:30.320 be stylized 01:30.320 --> 01:32.760 character models, that could be a 01:32.880 --> 01:35.520 cartoon character, it could be a digital 01:35.840 --> 01:38.800 double. So that's when there's 01:38.880 --> 01:41.680 a realistic model of an actor that they 01:41.680 --> 01:44.560 use, perhaps to perform stunt work 01:46.000 --> 01:48.080 or just to do things that would be 01:48.080 --> 01:50.960 dangerous or just impossible. Then 01:50.960 --> 01:53.840 there's 3D environments. Like I said 01:53.840 --> 01:56.560 before, that would be a 3D world. 01:57.560 --> 02:00.160 And then we see CGI props and CGI 02:00.160 --> 02:02.160 costumes. And this would just be for 02:02.160 --> 02:04.680 cases when the 02:04.720 --> 02:07.160 props and the costumes that you need for 02:07.160 --> 02:09.520 a movie for a specific shot 02:09.760 --> 02:12.080 cannot be created by the 02:12.080 --> 02:14.600 costume, the wardrobe team or the 02:15.040 --> 02:17.200 props team. When it's 02:18.080 --> 02:20.880 impossible to fabricate these, 02:21.040 --> 02:23.600 then you might have to. Create digital 02:23.760 --> 02:26.640 CGI props or costumes. 02:27.200 --> 02:29.040 In today's title you saw the word 02:29.040 --> 02:31.760 creating, creating digital elements. So 02:31.760 --> 02:34.560 how do you create these digital elements? 02:35.200 --> 02:37.840 And there's a few ways that we can do 02:37.880 --> 02:40.120 this, but the three ones that we're going 02:40.120 --> 02:42.960 to be looking at today are hard 02:42.960 --> 02:45.920 surface modeling, digital sculpting 02:46.240 --> 02:48.800 and photogrammetry. And 02:49.040 --> 02:51.120 there are other methods that are used, 02:51.120 --> 02:53.600 but. I feel like if you have 02:53.680 --> 02:56.560 these three, then there will be 02:56.560 --> 02:58.800 very few cases 02:59.120 --> 03:01.520 that none of these three 03:01.520 --> 03:04.480 options will be adequate to do the 03:04.480 --> 03:06.160 kind of work that you're needing to do. 03:06.480 --> 03:07.920 For today, we're just going to be looking 03:07.920 --> 03:10.560 at hard surface modeling, digital 03:10.560 --> 03:12.640 sculpting and photogrammetry. 03:13.600 --> 03:16.280 So of course we start off with hard 03:16.280 --> 03:18.960 surface modeling. How does hard surface 03:18.960 --> 03:21.680 modeling work?Well. 03:22.080 --> 03:23.920 In order to understand hard surface 03:23.920 --> 03:26.600 modeling, we have to understand what a 03:26.600 --> 03:28.960 model is made of. So over here you can 03:28.960 --> 03:31.840 see these three cubes and the 03:31.840 --> 03:34.560 first one you can see vertices. These 03:34.560 --> 03:37.120 vertices, these are the points or 03:37.200 --> 03:39.760 almost the corners of your model. 03:40.640 --> 03:42.720 And then secondly we have 03:42.880 --> 03:45.400 faces. So it's made-up of 03:45.400 --> 03:48.160 vertices. It's also made-up of faces, 03:48.560 --> 03:51.280 so. That is basically the sides of the 03:51.280 --> 03:54.080 cube, as you can see in red. So with the 03:54.080 --> 03:56.440 corners, the sides and 03:56.440 --> 03:59.280 lastly the edges. So you can see with our 03:59.280 --> 04:01.920 dotted line we have the edges. Every 04:01.920 --> 04:04.240 model, every shape has edges, 04:05.320 --> 04:08.120 except maybe no 04:08.240 --> 04:11.120 circles do have edges. Do circles have 04:11.120 --> 04:14.080 edges?I have no idea. So this form of 04:14.080 --> 04:16.960 modeling involves editing, so moving 04:16.960 --> 04:19.720 and manipulating those faces, edges and 04:19.720 --> 04:22.240 vertices that we just looked at to create 04:22.240 --> 04:24.800 shapes. So a little example, here's a 04:24.800 --> 04:27.200 cube. What we can do with that cube 04:27.360 --> 04:30.000 is we can 04:30.080 --> 04:32.640 create a little flat cube by 04:33.440 --> 04:35.600 taking maybe the top face, moving it 04:35.600 --> 04:37.640 down. Now we have a flatter cube, now we 04:37.640 --> 04:40.120 have a cube and a flat cube cube on top 04:40.120 --> 04:42.920 of a flat cube. Put another one and you 04:42.920 --> 04:44.800 have something like a table. 04:45.360 --> 04:48.000 So that's very simple. You can see that 04:48.240 --> 04:50.640 just by changing the scale, 04:50.960 --> 04:53.600 maybe moving the top face down a bit, 04:54.080 --> 04:56.640 scaling it out a little bit, making it a 04:56.640 --> 04:59.520 bit wider, a bit longer. So this is just 04:59.520 --> 05:01.840 simple manipulations of those faces, 05:02.360 --> 05:04.840 vertices and edges that you just saw. 05:06.560 --> 05:08.640 And then here's maybe a stool you could 05:08.640 --> 05:11.120 make like that. Remember, we looked at a 05:11.120 --> 05:13.520 cube, but a cube isn't the only 05:13.680 --> 05:16.320 primitive 3D object or 05:16.480 --> 05:19.360 mesh. As you can see here, we 05:19.360 --> 05:21.080 have a cylinder. You could also have a 05:21.080 --> 05:23.520 sphere. And using cylinders, spheres, 05:23.520 --> 05:26.160 cubes, planes, all of these, manipulating 05:26.160 --> 05:28.200 their geometry, their faces, edges and 05:28.200 --> 05:30.720 vertices, you can create quite 05:30.720 --> 05:32.640 complex shapes. So I don't have an 05:32.640 --> 05:35.040 example here, but look it up. You can 05:35.040 --> 05:37.040 make some cool stuff using hard surface 05:37.040 --> 05:39.200 modeling. It's called hard surface 05:39.200 --> 05:40.840 modeling because we're manipulating the 05:40.840 --> 05:43.760 surface of these objects. 05:44.080 --> 05:45.440 So now we're going to be looking at our 05:45.440 --> 05:47.920 second method of creating these 05:48.240 --> 05:51.160 digital assets or these models, and 05:51.160 --> 05:53.440 that is digital sculpting. 05:54.080 --> 05:56.560 Digital sculpting is very 05:56.560 --> 05:59.080 similar to actual physical 05:59.080 --> 06:01.360 sculpting, except that you're doing it 06:01.360 --> 06:04.000 inside of a computer instead of with 06:04.080 --> 06:06.960 physical clay. So it's a little bit less 06:06.960 --> 06:09.680 messy, but sometimes it can be a bit more 06:09.680 --> 06:12.360 technical and it can be 06:12.360 --> 06:14.560 done in softwares like Z Brush, 06:15.120 --> 06:17.360 Blender and Blender is the one that we're 06:17.360 --> 06:20.160 going to be looking at some examples from 06:20.880 --> 06:23.440 in just a bit. So 06:24.000 --> 06:26.400 these are some examples of different 06:26.400 --> 06:28.840 sculpting tools that you can use 06:28.880 --> 06:31.280 inside of the software. So we have quite 06:31.280 --> 06:31.760 a few 06:34.000 --> 06:36.800 so. If you look at the icon, you can 06:36.800 --> 06:39.680 kind of see what it's doing. Some 06:39.720 --> 06:41.920 of the ones toward the end 06:43.280 --> 06:46.160 are a little bit less self-explanatory. 06:46.560 --> 06:48.200 You can see there's a cloth brush, so 06:48.200 --> 06:50.000 that's if you're making some clothes or 06:50.000 --> 06:52.320 something, you can add some wrinkles, 06:52.320 --> 06:54.560 some creases using that tool. 06:55.520 --> 06:58.440 And yeah, there's a lot 06:58.440 --> 07:00.160 of different ones, adding ones, 07:00.160 --> 07:03.120 subtracting ones, so. You can make 07:03.120 --> 07:05.920 dents, you can make bumps, 07:06.520 --> 07:08.880 and using a combination of these tools 07:09.440 --> 07:12.400 you can create some quite 07:12.800 --> 07:15.360 elaborate sculptures. It is 07:15.600 --> 07:18.160 definitely a good way to be 07:18.240 --> 07:21.160 creating models because you can add a lot 07:21.160 --> 07:23.560 of different texture. And yeah, 07:24.880 --> 07:27.440 so here we have the Blender sculpting 07:27.440 --> 07:29.280 interface. It's not the only feature in 07:29.280 --> 07:32.160 Blender, the sculpting. But it is a good 07:32.160 --> 07:33.480 feature and someone that we're going to 07:33.480 --> 07:35.920 be looking at now. And as you can see 07:35.920 --> 07:38.640 here we have those tools from earlier. 07:39.120 --> 07:41.840 So these sculpting tools, we have 07:41.840 --> 07:43.760 those up here on the left 07:44.760 --> 07:47.200 and then this right here, this 07:47.200 --> 07:50.160 object is the digital clay. 07:51.040 --> 07:53.920 So that can be any object that has enough 07:53.920 --> 07:56.480 detail to be able to use those tools on 07:56.480 --> 07:58.560 it to manipulate it in a slightly 07:58.560 --> 08:01.120 different way. And then over here 08:01.440 --> 08:04.320 we have the settings panel. So as you 08:04.320 --> 08:07.280 can see, we have the draw brush selected. 08:07.840 --> 08:10.640 So this is the radius. So as you can 08:10.640 --> 08:12.960 see, these two blue circles are the 08:12.960 --> 08:14.880 brush. Obviously it's not moving around 08:15.440 --> 08:18.240 because this is just a screenshot. But if 08:18.240 --> 08:20.640 we were to change the radius and turn the 08:20.640 --> 08:23.560 radius up, then these would 08:23.560 --> 08:25.840 get bigger and the area that was affected 08:25.840 --> 08:27.520 by the brush would also get bigger 08:27.520 --> 08:29.840 accordingly. And you can change the 08:29.840 --> 08:31.600 strength to see how much it will affect 08:31.600 --> 08:33.280 it. And of course all of these other 08:33.280 --> 08:36.080 settings over here can also be edited. 08:37.120 --> 08:39.600 So this is just like any other brush 08:40.000 --> 08:42.880 that would be used, except 08:42.880 --> 08:45.520 it is manipulating our 3D 08:45.520 --> 08:48.400 digital mesh or our. Digital clay 08:48.400 --> 08:51.240 inside of the computer. Then this is just 08:51.240 --> 08:53.760 an example of what you can do with that. 08:54.240 --> 08:56.080 Obviously it's a bad example. I'm not 08:56.080 --> 08:59.020 good at sculpting. And I probably spent 08:59.020 --> 09:01.420 like 2 minutes on this, but you can 09:01.420 --> 09:03.340 create faces, you can create far more 09:03.340 --> 09:05.260 complex things in this part. 09:06.220 --> 09:09.020 And then as you can see down here, that's 09:09.020 --> 09:11.260 the brush. As you put it on the mesh, 09:11.740 --> 09:14.380 then you can see what area you're going 09:14.380 --> 09:16.700 to be affecting with whatever brush you 09:16.700 --> 09:19.500 use. As you can see, we 09:19.500 --> 09:21.300 use two different kinds of brushes. So 09:21.300 --> 09:23.260 this is a dent. It's like if you were 09:23.260 --> 09:25.740 pushing on your clay to create an indent 09:26.220 --> 09:29.100 and then this. Is more of a bump 09:30.780 --> 09:33.740 to almost extrude 09:33.780 --> 09:35.660 a little bit out of our 09:36.300 --> 09:39.060 imaginary clay or our digital 09:39.060 --> 09:39.420 clay. 09:41.860 --> 09:44.380 And then we have of course our third and 09:44.380 --> 09:47.260 final method. These three are not 09:47.260 --> 09:48.860 the only methods, but they are the big 09:48.860 --> 09:50.420 ones that we're going to be looking at 09:50.420 --> 09:52.940 and it is photogrammetry. 09:52.940 --> 09:55.180 Photogrammetry is probably my favorite. 09:56.300 --> 09:58.620 It is a little bit gimmicky, 09:59.100 --> 10:01.820 but if you do it right and if you do 10:02.300 --> 10:04.140 put a lot of work into it, you can get 10:04.140 --> 10:06.620 possibly the most realistic 10:06.620 --> 10:09.020 results if you're going for photo 10:09.020 --> 10:11.740 realism. So you know in 10:11.740 --> 10:13.300 photogrammetry what you have to do is you 10:13.300 --> 10:15.500 have to take pictures from all around a 10:15.500 --> 10:18.060 subject. So from all the different 10:18.060 --> 10:20.060 angles you're going to walk around in a 10:20.060 --> 10:22.780 circle around the object. 10:23.100 --> 10:25.900 Taking pictures different heights and all 10:25.900 --> 10:27.500 the different angles underneath. If you 10:27.500 --> 10:30.380 can get as many high quality pictures as 10:30.380 --> 10:32.620 possible. Minimal motion blur 10:33.020 --> 10:35.860 and you do want to be going round in a 10:36.140 --> 10:38.460 path. So not just one picture here, one 10:38.460 --> 10:40.220 picture here, you know one on the other 10:40.220 --> 10:42.140 side and back to this side. You do want 10:42.140 --> 10:44.140 to be going in a path so that the camera 10:44.140 --> 10:46.140 can reconstruct and 10:47.180 --> 10:49.220 more easily be able to tell oh this one 10:49.220 --> 10:50.580 is from here and the next one is from 10:50.580 --> 10:52.460 next to the. So that there's a little bit 10:52.460 --> 10:54.620 of a sequence and a continuity to those 10:54.620 --> 10:56.380 pictures. And then what you do is you 10:56.380 --> 10:59.100 feed those images into the computer. 11:00.140 --> 11:02.100 So then what the computer would try and 11:02.100 --> 11:04.460 do is, as you can see in this also 11:04.780 --> 11:07.140 this is a from blender. What it would try 11:07.140 --> 11:09.820 and do is it would try and the 11:09.820 --> 11:11.740 computer would try and reconstruct where 11:11.900 --> 11:14.260 each the camera was on each frame and 11:14.260 --> 11:17.020 then from that be able to build a mesh of 11:17.020 --> 11:18.300 whatever you're taking a picture of. So 11:18.300 --> 11:20.940 it's like. The first picture was taken 11:20.940 --> 11:23.820 from here and then because of 11:23.820 --> 11:26.420 perspective, next picture was here, a bit 11:26.420 --> 11:28.780 of a sequence all the way around. So now 11:28.780 --> 11:30.460 we know what every inch of 11:31.500 --> 11:34.380 surface on whatever the object 11:34.380 --> 11:37.060 is that you're trying to scan, photo 11:37.060 --> 11:39.340 scan. We know what every inch looks like, 11:39.500 --> 11:41.580 we know the texture, and now we can 11:41.580 --> 11:43.820 reconstruct it in 3D because of all of 11:43.820 --> 11:46.780 the data that we have. And then you 11:46.780 --> 11:49.500 can kind of just reconstruct the path of 11:49.500 --> 11:52.100 the camera and 11:52.100 --> 11:54.860 then create this this mesh over 11:54.860 --> 11:57.780 here. So here is an 11:57.780 --> 12:00.660 example of a pure photo 12:00.660 --> 12:01.180 scan. 12:03.020 --> 12:05.180 So it's it's a little bit 12:05.260 --> 12:07.540 messy, but 12:08.140 --> 12:10.140 you can kind of see what's going on, 12:10.620 --> 12:13.100 obviously what's being scanned. 12:13.500 --> 12:15.060 Isn't an object. This time it's an 12:15.060 --> 12:17.060 environment. So then you'd be inside the 12:17.060 --> 12:18.940 environment taking pictures all around 12:18.940 --> 12:20.980 you, rather than outside of the 12:20.980 --> 12:22.620 environment taking pictures 12:23.740 --> 12:26.140 inward. And 12:26.940 --> 12:29.780 this is why this result, 12:29.780 --> 12:30.780 which you can see it's a little bit 12:30.780 --> 12:32.980 janky, a little bit weird, but you can 12:32.980 --> 12:35.260 see the certain areas like over here 12:36.220 --> 12:38.260 that do look quite nice and could be 12:38.260 --> 12:39.620 used, but. 12:40.860 --> 12:43.420 This as a whole obviously isn't usable. 12:43.660 --> 12:45.780 That's why you get clean up artists. So 12:45.780 --> 12:48.540 those are artists who use sculpting, hard 12:48.540 --> 12:50.220 surface modeling, all of the other things 12:50.220 --> 12:52.860 we looked at. And then they say, well, we 12:52.860 --> 12:54.380 know what it looks like even though the 12:54.380 --> 12:55.820 computer got it wrong. We know what it 12:55.820 --> 12:58.460 looks like. We have these textures so we 12:58.460 --> 13:01.100 can manually fix 13:02.300 --> 13:04.300 some of the issues in the photo scan 13:05.100 --> 13:07.660 and then have a better result 13:07.660 --> 13:10.420 overall. But the computer 13:10.420 --> 13:12.460 does do a lot of the work 13:12.940 --> 13:15.340 and it will give very nice 13:15.340 --> 13:18.220 textures and very realistic 13:18.380 --> 13:20.180 geometry for things that could take a 13:20.180 --> 13:22.220 long time to model with 13:22.860 --> 13:25.740 hard surface or to sculpt. But 13:25.740 --> 13:27.260 then with a clean up artist you can get 13:27.260 --> 13:29.900 some really nice results. So something 13:29.900 --> 13:32.300 like this obviously looks a lot better 13:33.180 --> 13:35.340 if you look at just this area over here, 13:35.980 --> 13:38.380 so. This is a good example of 13:38.380 --> 13:41.020 maybe a better result that you could get 13:42.140 --> 13:43.420 with a little bit of clean up. This would 13:43.420 --> 13:46.380 be near perfect. And this 13:46.380 --> 13:47.740 is one of the softwares that you could 13:47.740 --> 13:50.700 use, programs that you could use. So 13:50.700 --> 13:52.620 down here we have all of the images. You 13:52.620 --> 13:54.380 can see there's a sequence, this image to 13:54.380 --> 13:56.220 this image to this image to this image 13:56.980 --> 13:59.340 all the way around. You can tell 13:59.740 --> 14:02.060 where the camera was and then you can't 14:02.060 --> 14:04.940 see all of it but over here. There 14:05.020 --> 14:07.220 would have been probably some coordinates 14:07.220 --> 14:09.460 from each photo of the camera 14:09.460 --> 14:11.100 coordinates. And then this is the 14:11.100 --> 14:12.820 reconstruction, the 14:14.140 --> 14:16.700 model that the computer came up with. 14:17.620 --> 14:19.820 And now we come to the final part and 14:19.820 --> 14:22.180 that is textures. So in photogrammetry 14:22.180 --> 14:24.220 you already saw some photo textures, 14:25.100 --> 14:27.860 but there are like with modeling, there's 14:27.860 --> 14:29.860 a few ways we can do textures. Textures 14:29.860 --> 14:31.900 are just the materials that we put on. 14:32.300 --> 14:33.740 Most of the things I showed you just said 14:33.740 --> 14:36.220 plain color, but in order to have realism 14:36.780 --> 14:39.060 then you do need textures. So some of the 14:39.060 --> 14:40.940 different types of textures or materials 14:40.940 --> 14:43.660 are the first one, photographic 14:43.660 --> 14:45.780 textures. So these would be captured with 14:45.780 --> 14:48.620 a camera and then mapped onto a model. So 14:48.620 --> 14:50.780 that's just mapping a photo saying we 14:50.780 --> 14:53.340 want this part of the image on this face 14:53.780 --> 14:55.660 and this part of the image on this face. 14:56.460 --> 14:58.460 And then you can take those photographs, 14:58.620 --> 15:00.620 put them on models that you modeled. And 15:00.620 --> 15:02.780 get a nice realistic result. 15:04.140 --> 15:06.620 And then we have stylized textures. So 15:06.620 --> 15:09.420 these are often drawn in a program 15:09.420 --> 15:11.020 like Photoshop, and then it's used for 15:11.020 --> 15:12.940 slightly less realistic style. 15:13.820 --> 15:16.780 So if you have a costume, I don't 15:16.780 --> 15:18.620 know, superhero costume or something, 15:19.180 --> 15:21.100 then maybe you would design that, you'd 15:21.500 --> 15:24.460 draw it inside of a software like 15:24.460 --> 15:27.420 that and use that. So that would 15:27.420 --> 15:29.260 be more of a cartoony kind of look, more 15:29.260 --> 15:30.780 of a stylized rather than a 15:30.780 --> 15:33.020 photorealistic approach. 15:33.940 --> 15:36.140 And then lastly we have procedural 15:36.140 --> 15:38.140 textures. So these are like a 15:38.140 --> 15:40.500 mathematical way. It's hard to explain, 15:40.500 --> 15:42.620 but these are like a mathematical way to 15:42.620 --> 15:45.260 generate a texture using a formula 15:45.740 --> 15:47.660 made-up of different things. So that 15:47.660 --> 15:50.420 could be like random noise, emission and 15:50.420 --> 15:53.260 other things. So you take all of those 15:53.260 --> 15:54.860 functions that you can use to generate, 15:55.220 --> 15:58.060 uh, this area should have this color, or 15:58.220 --> 16:00.140 you can generate smudges or all of those 16:00.140 --> 16:01.820 kinds of things using mathematics. 16:02.380 --> 16:05.340 Usually softwares, different 16:05.340 --> 16:07.340 programs do have easier ways to maybe 16:07.340 --> 16:08.940 look at it in a more visual manner than 16:08.940 --> 16:10.700 having to like maybe type out some code. 16:11.580 --> 16:13.940 So using node based systems, I know 16:14.060 --> 16:17.020 Blender has a nice one, but then what you 16:17.020 --> 16:19.740 say is for Lava, you'd be like, OK, we 16:19.740 --> 16:22.300 want. A glowing 16:22.540 --> 16:25.500 orange kind of a texture, 16:25.500 --> 16:26.980 but we don't want it to be just glowing 16:26.980 --> 16:28.940 in orange. We want to break it up with 16:28.940 --> 16:31.500 maybe some areas that have 16:32.140 --> 16:33.660 cooled down a bit and they're more like 16:33.660 --> 16:36.500 rock basalt or that. So 16:36.540 --> 16:39.340 then what would happen is we would say we 16:40.300 --> 16:42.420 just have the base layer of the 16:43.260 --> 16:45.420 hot lava and then over that we use some 16:45.420 --> 16:48.300 noise to just choose random areas. 16:48.620 --> 16:50.940 To put another texture, that would be a 16:50.940 --> 16:53.500 salt texture. So random places on it 16:54.060 --> 16:56.940 have almost hardened. And 16:57.580 --> 16:59.260 then because these are generated, these 16:59.260 --> 17:00.700 aren't images you're putting on some 17:00.860 --> 17:03.460 picture of lava. It's almost the formula 17:03.460 --> 17:06.300 of lava. There's no limit 17:06.300 --> 17:07.660 on their resolution. You can just 17:07.660 --> 17:10.060 generate more for however big the object 17:10.060 --> 17:12.860 is. However, it can be hard to make them 17:12.860 --> 17:15.500 realistic enough for close-ups because 17:15.740 --> 17:17.420 it's not based off of photos. It's not 17:17.420 --> 17:19.780 based off of. You know, the real world. 17:20.220 --> 17:22.700 So yeah, so that was 17:22.780 --> 17:25.580 creating digital elements. We 17:25.580 --> 17:28.060 looked at hard surface modelling, we 17:28.060 --> 17:30.300 looked at sculpting, we looked at 17:30.300 --> 17:32.900 photogrammetry, and then we looked at how 17:32.900 --> 17:35.620 to apply different materials, different 17:35.620 --> 17:38.540 textures to those models that 17:38.540 --> 17:40.700 we created for 17:40.860 --> 17:43.580 varying levels of realism.