So now we can bring that on back. And the beauty of this is that if I save, and let's go ahead and bring in a new object, so we'll do import STL. So let's bring in the snowman and import that. And right away, if I go to my first view, the snowman is really huge. So I'm just going to hit period on the numpad. There he is, and just scale them on down into our studio.

Let's go ahead and hit period, go to our camera view, and just keep on scaling down until it looks about right. And then we'll hit G and Z to bring them on up. And so now we can turn our Susanne layer off and we have our snowman quickly and easily replaced right there. We may need to network camera up or back a little bit and that's how quick it is to replace the item but what we need to do now is click on the snowmen then shift and click on the grab and rotate empty Then over your window, hit Ctrl P, and that will parent the snowman to the grabbing rotate controller. Now if you hit play, hey, we've already got we've got another awesome rotating design here. So that's really cool, you can also and then the final thing that I like to do is kind of more of an advanced feature.

But what we're going to do is create all like the bouncing light that should be hitting and reflecting, you know, light is going to bounce off the blue floor, so it should get be getting blue reflection on the snowman here. So what we're going to do is, I'm going to make this floor a little bit more dark blue. And this is the effect that I do sometimes, but we're going to make it dark blue. And then we're going to go to one kind of look or look around here. And we're going to make a huge light probe. So to do that, hit shift a and under light probe.

We're going to do it radiant volume, it looks like a bunch of dots. And it's really small. So it's just hit scale and increase that we want this bigger. We want it to kind of be outside of our lights and the top light. So let's hit G and z, bring it on up, we want to encompass everything. And notice here, there's little dots, kind of floating in here.

What these are doing is they're calculating the light and what it's really doing in this space here. So I'm going to go down scale, bring it on down. And maybe we'll take this light, see how low it is compared to these, hit G and Z. Bring it on up. So we've got a nice square here. And we can even take our, our volume here and kind of scale down we just want to make sure we get all the lights.

So notice that the bottom dots are kind of going through the platform here. That's what we don't want. We want everything inside. Our studio. So bring it in just right past the plane. You know, you want it as close to the surface as possible.

And then let's even just bring these lights, these lights in, so G and y, or t and X and just bring it in just a little bit, maybe something like that. And take our light and G and x, s, bring it on in a little bit more g x, bring those in. So we've got a nice little Look here. Still looks great inside here. And if we take part in Kevin's volume, we can really scale this down a lot more now. So let's hit scale.

And we want it just barely to have everything so I'm just making it right, bigger than the lights. Go to front view so I can see. Yeah, scale it in. Grab it and go down. Just put it right on the base there. And so this is a little bit more advanced.

But now we have our lights, all three lights inside of this kind of light volume cube. And what it will do is if we go back to our camera view, and go under indirect lighting, we can bake this indirect lighting in. So the easiest way to actually see what's happening is just turn off all your lights, it sounds crazy, but just do it. It's really cool. And then go into our camera view. And now hit bake indirect lighting.

Looky here. So now we're getting our, you can kind of see it at the bottom, there's a little graph that our little meat calculation bar. So it'll bake all that lighting in, I'm gonna up the, the quality so I'm going to iterate through it in volume, go into the object data of that, and under resolution, I'm going to crank it up to maybe six and it's going to take a little longer to render but I liked it. It looks. So we'll go to the camera and bake the lighting again. And notice it takes a little bit longer.

And it's gonna bake in all that reflective light. That's really should be happening. And now if we turn on our lights, it looks like this, the snowman is really inside of this. But what I like to do is once we've baked in the blue light, I'd like to go in and change it to the complete opposite. So if I go into my background and change the color to red, I think that looks really cool where it's got blue kind of shadows and highlights on a red background. And so you could render that out.

You could hit play, and see it from all angles. And you can do this all live. So you know I can change the intensity of my lights. Maybe this one's too bright. I could take it down to 10 you know turn off different lights and just see now what look Am I am I going for here?