Making a Little Barbershop with Various Signage

O __0 i just realized i can binge watch back through your patreon library for all the videos i missed.. WOOO! i know what im doing this weekend!

Jack_Wolfe

Thank you Ian. This has really helped me with my work flow and I recently had to model a barbershop for work so this was perfect!

to file under the "unsolicited tips": no need for a curve modifier to have the text follow the curve, there's the "Text on Curve" field under the "Font" tab (and to flip the direction you flip the curve)

Arturo Leone

yes. humans hibernate.

Luke L

Thanks, Ian! You da best! If a tutorial is too much, it’s no problem! This is more than good information for me to move forward with. Cheers, my guy 🙌

Orion Vang

or pre - or whenever you do your color shananigans

Christian Scott

I think it would be very useful - you certainly have very intuitively developed a unique and beautiful cineastic look. It would be awesome to know more about how you approach your post even if it seems chaotic. cheers, chris

Christian Scott

how to get that texture

Thanks so much Ian! That eases my brain haha

Oh man yeah LOG's... confusing, haha. I USUALLY shoot in LOG, but I actually shoot my greenscreen stuff in linear (because of a superstitious belief that I'm keeping more color data?? Maybe I am?). If I'm importing the pre-keyed greenscreen footage into blender, yeah, I'll make sure it's linear (or if it's a pro gig where I get LOG footage, I'll usually have to convert it with a LUT), do the key/green-spill reduction, and tweak it to be as neutral as possible (erring on the side of low contrast). Once I have it in the scene, and can see it in the 3d environment, I'll usually tweak the video texture black/white levels so they match the exposure/contrast of the environment. For a final export out of blender, a lot of times I'll use "Very Low Contrast/Filmic"- because that seems to match my A73's SLOG curve the best?? And then HOPEFULLY I can apply a similar grade as I'm using on the rest of my regularly shot stuff... But yeah in the end it's a bunch of eyeball work, and I'm sure there are MUCH better ways to go about it. I could do a video about it, but... I'm kind of worried about putting such a chaotic color workflow out into the world, hahaha

Ian Hubert

By "different folders" I mean, like, collections in the outliner.

Ian Hubert

You're definitely right that it can get confusing! For all the reasons you said. I usually use the "every shot a different file" method, but that also means I've had to spend a BUNCH of time jumping around updating the same thing across a bunch of files if I want to make a global tweak. When I was at my most organized (thanks, Nathan Vegdahl), each major asset had its own project file, and was just appended into any given shot.blend, so you could update everything quick, and the shot.blend was actually just a relatively small file referencing a bunch of other files, but that still doesn't address the "what if I want each character to have a rimlight" question. Since it's normally the lighting I want to tweak per angle, if I'm rendering multiple shots out of the same project, sometimes I'll just have different folders, each one containing the specific lighting for each shot. Sounds like I'm not really doing much that you're not already doing- but if you ever figure out a clever way to keep it all organized, I'd love to hear it!

Ian Hubert

maybe there's an addon for managing the cameras? I thought there was.

Robert Singler Jr

this obviously doesnt work always but especially with multiple still images of the same scene i just assign different keyframe locations to my camera so i just cycle through my timeline for the different locations. Same with the lights in the scene, kinda annoying tough

Hey Ian! I was wondering how do you go about using LOG in your process. Do you shoot in LOG, throw in a roughed up grade on the footage, key out the green screen, and then re-render everything in LOG for after effects? A tutorial on that process would be great if there isn’t any yet 😁

Orion Vang

Perhaps this is a silly question, but I don't seem to find anyone really talk about it online. In regards to project file management for blender while making a scene that has multiple shots / cameras in the same scene. I've been making new project files for each shot in a scene so that I can go back and re render those shots if necessary. But some scenes are so interconnected that It makes more sense to just have several cameras in the same scene. However It gets complicated when I want to adjust something for one camera angle but not the other. Do you have any tips on an ideal workflow?

nevermind，I get it by google image search

乐鱼Mort

Amazing, but where can I get the nice building texture you use in this tutorial

乐鱼Mort

I love any video that goes into how you design buildings and I’d love to see how to bring a load of them together to make those really cohesive city shots at like the midrange? I always try to unpack what the details are and I just never can, even if it’s just mess - we want the mess. 😁

You mention changing the config, so I’m not sure how much you already know about color management? Speaking broadly just in case, the problem with bringing footage into Blender is that the color of the footage needs to be interpreted correctly and converted into Blender's internal color space, and Blender has very few input transforms—unless your footage is already sRGB, linear, or Troy Sobotka's particular flavor of Filmic log, you're not going to get the right conversion! Log is an umbrella term that includes all the different versions of log made by each camera manufacturer—LogC, S-Log, Blackmagic Film… they’re all log, but they all use slightly different math, so using a converter designed for one on a different one can give you weird and unsatisfying results. So one thing you could do is convert your log footage into linear before bringing it into Blender—Blender can definitely interpret that correctly and then at least everything's in the same space. The second thing is that using the Filmic transforms on your final renders might work great for the scenery but not great for your footage—I’ve often found I’m not the biggest fan of the way Filmic affects skin tones. So you could, if you wanted to, export linear EXRs and build your own final look—you could even convert the linear data into your camera’s native log space and then use whatever grading or LUTs you usually use on your camera’s footage. You could also change the config—if you find a different one that has the camera profiles you need, that should work as well! Be careful with ACES, though, sRGB is hardcoded in a bunch of places throughout Blender and ACES breaks a bunch of stuff, as well as creating a lot of potential for gamut issues.

Carter Burr-Kirven

A set building video would be amazing! Could you also go over set dressing/lighting, as your scenes always have a great visual detail and lushness to them. The "You wanna know my plan?" video was a great example of that.

Zachary Macintyre

Hi Ian! Great stuff as always. I was wondering about working with LOG in Blender, especially when working with footage in the scenes. I can't really get my head around it. I've tried changing the config.ocio, and I don't know if I'm doing something wrong, but it doesn't seem to work that well... How do you work with LOG inside of Blender? Thank you in advance! And thanks for great tutorials and everything else!

I second this! That's long been one of my favorites, the distribution of light is so wonderful

Carter Burr-Kirven

Hi bud, I came across an addon called leafig, creates geometry from images, maybe worth a look if you haven’t already. I just want to be a leaf on the stem of a fig! And nothing more!

Hey there Ian, I was wondering if in the future, you might do a breakdown of one of your Artstation pieces titled "Shipyard". It's such a wonderful scene and I'd love see a video covering how it was made!

Drives me a little nuts that it leads to both the UV editor AND the image editor, and that they look so similar. So many times I'm like, "Where are my UVS?" and it takes me way too long to figure out what's wrong. Always feel like if I'm pulling off such an awkward hotkey as Shift F10, it should take me to exactly where I want to go :P

Ian Hubert

Shift R is the one I always forget!!

Ian Hubert

Well, I'm not Ian Hubert, but you've seen this one (https://www.patreon.com/posts/some-post-35533684) and this one (https://www.patreon.com/posts/scene-breakdown-44512824), right?

Carter Burr-Kirven

Shouldn't have to force yourself, the Patreons cheap, and insanely good value. It's a gem

Hey Ian, first off, I've been learning so much from your patreon since I joined last month - a huge archive of useful tutorials that almost directly apply to my current project? YES. Second, have you ever considered doing tutorials about compositing in after effects? - I know there's so much to communicate with that, but even a breakdown of a scene and an explanation of the logic behind it's set up would probably open my (and everyone elses') eyes to the world of compositing. Thanks for reading this if your reading this and your name is Ian Hubert!

Oh man, for making that LED array, Shift R is your friend!

Paul and Anna Spooner

forever grateful, ian

For the UV editor, the shortcut is Shift F10. Learning the Shift Fkey shortcuts for the editor windows is super handy.

Paul and Anna Spooner

That one time [you forgot to save and lost work]? You must mean that one time that was caught on camera! Please tell me I'm not the only person who has failed repeatedly to sufficiently learn that lesson.

Paul and Anna Spooner

I was in HVAC design for three years and, you know what? Yeah, that's what pipes look like. I mean, it's probably more of a duct, but that's even more of what ducts look like.

Paul and Anna Spooner

I'm trying to learn blender so I forced myself to spend money for your Patreon, it looks like I'll have a lot to look at! Super excited. (Force myself because I have trouble staying focused on things 😔)

Ian

This is really amazing. I'm so glad I subscribed to your patreon

Edward Lobo

This is great!! Would really love to see more building/world/city designing videos!

Strobez

Hi!

Now I'm looking at them like- should I render out an actual 3d animation?? With cable sims and all that? But this is probably good enough. At least for nowww...... (this is how to make episodes take years and years and years)

Ian Hubert

Oh! You mean like the little photo collages? I was actually trying to put one together for a mech tutorial next week- I'll make a video of it! That's a great idea!

Ian Hubert

I would absolutely 110% love to see a video about setbuilding for Dynamo!

Kai Christensen

I feel like the sound guys must be stoked every time you've got something to send them, I'm guessing it's not that often that they get to work on something this detailed and crazy.

Kai Christensen

Yay, more content. Thanks so much Ian. I was wondering about your texture sheets. Have you made an episode or tutorial on making a useful sheet? What kind of materials you like to include on it and what size or detail makes a good texture composite?

David McSween

oh boy those first 30 seconds hit waayyyy too close to home, Ian. been in a content-making slump myself recently, it's nice to get some inspiration!

Kai Christensen

This is so cool!! I also absolutely love how the comp’d metal bars move with the real stool when she walks over it; feels so real. And I’m SO dang excited for the set building/breakdown vid!

Blake Rizzo

Aha! It's Tuesday here in Australia, but I'm always down for Tuesday Night Fun. I really really love your content Ian, you're just a fantastic artist and I'm glad to be a patron!

Ozzie

thank you ian for all the videos this patreon has helped me get through the tuff and the bad and i just want to say thank you ian for making these videos

Hi Ian!