Concept Car Creation: A Workflow Introduction

FLORIAN COENEN: So welcome, everybody, to my presentation about the concept car creation, and I will show you a workflow introduction of that project. Here, first of all, my Safe Harbor Statement. I will not use any words to that. You can read that if you want to.

So the project that I want to talk to you or guide you through and show you some workflows and new tools will be the ETRAXX. This is the track race car called ETRAXX, and I have created that a long time ago, and I will guide you through that workflow a little bit.

My name is Florian Coenen. I'm working in Munich for Autodesk since 10 years, and since more than five years I'm working as a technical marketer. What is it technical marketer doing? A technical marketer, in my case, I'm covering content creation, like what's new videos for Alias, for VRED. So mainly, in the automotive family, basically. And obviously, also YouTube videos for VRED. Here you can see just a quick slide of the Alias site.

If you want to see more about my projects, you can see more detailed product introductions of my projects here on Behance, or you can see some imagery on Insta, if you want to. And if you want to get in contact with me, if you have also any questions afterwards after the presentation and if there is something unclear or so, you can easily contact me via LinkedIn if you want to.

OK, I will jump into the presentation about the concept car, track race car ETRAXX, and I want to quickly use some words about why this form? So it was two years ago already where we introduced many new safety features, as well as one of the Dynamo scripts. And one of my main favorites, which I'll show you later definitely, is the tire script.

So I wanted to show a car or create a car that shows tires. So therefore, we have big, huge air intakes, which also makes it then very interesting for air stream simulation, like you see here in the middle of the slide. And also, this car has a little fan car homage to the old fan car from the '70s, which you probably know. It's from Gordon Murray and I believe Nikki Lauda was driving it. And another one as well, which I can't remember right now.

Additionally, I wanted to incorporate the-- I've done this spaceship. You might maybe have seen that on other What's New videos, presentations, or so. This pilot hood from the spaceship directly into the car to give it a little bit of a similar look and also a bit of a sci-fi look.

OK, this is the agenda. So I will show you using the ETRAXX, this car, multiple tools, multiple new features that I have been used, which were very handy for me, for my concentration Workflow, and we will start with Create VR Alias Roundtrip. So I have Create VR and Alias and how can I exchange data back and forth and how is that workflow nowadays?

I want to talk about some SubD tools, which are very handy. Obviously also new tools. I'm normally tending to show the latest tools here. So for you as a reminder, you can also most probably see some things on my What's New videos already.

Then Dynamo Tools, Nurbs Tools. I want to talk quickly about Alias and Fusion, how this works together and what I have done with it. We want to talk about, and you will see some videos for the Clay workflow, so to create a physical clay object, we worked together with company Kolb, and they are doing clay printing and clay milling, so this will be definitely very interesting.

And last but not least, I'm showing you some tips and tricks, how to optimize your scene in VRED, and what kind of technologies I've used there.

OK, first of all, we are in Alias and want to go to Create VR, and this is the Roundtrip to it. So first of all, what I create, I'm starting with a simple Dynamo script to create this kind of car body, which is absolutely perfect, I would say, start for creating your own shapes. And I'll show you here quickly a video to it in a second.

So you start, basically, with the side view with the Sights Catcher, so loaded into Alias, and just roughly create some outlines onto it. And you're creating one straight line that defines the real arches and the real bases. And that's basically it. So you have basically two lines, and you start your Dynamo script. You're going into the Dynamo toolbox, and you start the Car script.

And this is how it's been done, basically. Hang on. I'm starting the video here. So you have this Car script here, and then I'm selecting the Curve. The first one, press Spacebar or hit Accept, which is the same. Hit Accept, Spacebar, and then it's basically done. Press Build, and Dynamo is running now in the background.

It's creating for me a SubD body, which I can then still tweak around a little bit. So in that case, obviously, I have just half of the car, but I can also create a complete car if I want to. So here you see I'm scrolling down here. I can create this complete car if I want, or half of the car. I can tweak different amount of spins, of the wheel arches from left to right, from front to back.

I can also change the radiuses of wheel arches, the wheel base, wheel width. So I have multiple options here, but I'm leaving it now for simplicity reasons just like this. And then I'm selecting the object, and then I'm already going into Create VR. I'm opening up the Option box for it. I want to have the Geometry output as the selected objects type Editable, so it will come in a SubDs already, and I can choose the symmetry plane.

And here we are. It's loading directly Create. We are starting automatically, and you have your car already in the scene, which is absolutely amazing. So you have to do absolutely nothing. It's a one-click workflow, if you want it like that.

What I do here is I'm creating quickly a symmetry here directly in Create VR. That was the reason why I haven't done it in ages, because then I am already in symmetric modeling. Here, I choose the wrong layer, so I can't edit it, but now I have done the right layer.

And here, I have also this layer bar directly on my controller, so I can quickly, simply check which objects are in the layers and which not. And here, I'm basically starting to create and refine my object already. So I'm adding edge loops. I can crease the edges, creating some crease edges to start my first design and concept ideas.

And this is basically what you do. I want to keep it as simple as possible. So therefore, I'm not losing here too much time on that video to create the perfect shape, but it gives you pretty much of a good impression what can you do? So let's imagine I am nearly ready with my car, and I go here now to this new export options. Export PHP file.

This is the file that I want. Not this one, the Export Smooth Mesh. I want to export the FBX file, as then the FBX file, this will export, basically, the object from Create VR as SubDiv already. And here, I go to Re-import from Create VR. I say Import, and that is basically done. And I'm back with this object, which I created in Create VR, directly in Alias and can obviously work furthermore on it.

I have not used the ETRAXX for that because of simplicity reasons, because this is more or less recorded in real time, if you want it like that to make it quick and easy for you.

So this was the first step. We're going back to Alias. So we are using Export FBX file, and after that, we import from Create VR. What you can also do is directly go to Visualization if you want to. And there's a nice option you can export a smooth mesh, and as you can see here on the right side, this will directly export all these lines that you have created in Create VR.

And these are these kind of sketchy lines which are fading out at the end, so you get this kind of sketch look into your Viz program. In that case, obviously, I have used VRED.

And there's also a nice tool that I wanted to show to you quickly. This is the Change Thickness tool. So here, you can use the Change Thickness tool and change actually the thickness of your lines that you will export them later by just selecting them, holding the trigger finger, and moving your controller from the left to right. And that's basically it, and you see obviously what is happening. And when you're satisfied with the thickness or thinness, then you're done and you can export it and it will be like that.

And you can also achieve something like that, a lovely 3D sketchy paper style, if you want it. So I'm really a fan of that functionality right now. And we are able now to have a perfect round trip with Alias, Create VR, and also obviously to VRED, which is lovely.

So the next thing is I want to show you quickly some Alias modeling tools, which I have used, also new tools. I've also done some talks in the last AUs about SubD Modeling already using the interior of my spaceship. And if you are interested in more, SubD Modeling tools, maybe go to that site as well, and/or go to the YouTube channel of Alias, because I can't cover everything, unfortunately.

First thing that I wanted to quickly set as a reminder, we have, under Preferences, different workflows, which is very handy. And me as an old bloke, I didn't understood it directly in the first place, so I created my own shelves and marking menus.

But when you're getting used to it, changing your complete workflows, then it's absolutely handy because you have your different shelves set completely there, and you have a completely different marking menu, which is then customized for the different workflows like your SubDiv workflow. You have then your perfect SubDiv Marking Menu.

One of the latest tools, which I also was able to playing around here with the ETRAXX is the Crease Edge Modifier. And the Crease Edge Modifier is a very unique feature. So only Alias has this at the moment. And unfortunately, but also obviously, because we have the math behind that cage, behind that SubDiv cage, we are not able to export it, because there is absolutely no export format which can keep that information because it's our own unique math behind.

But what you can see, I can play around with the bias and with the sharpness as well, and also I have missed that this was on the beginning of the video. Maybe I'm playing it again. You see here at the end of a crease edge a sort of very weak tail which is going out. But you don't want to have that. You want to have a smooth edge fade into the surface, and this gives you this edge modifier.

And you can also adjust how many edges will be taken into account for this smoothing out. And this gives you, then, a perfect highlight of a feature line, which is not ending weirdly in a sort of uncontrollable wave force.

The next thing what I wanted to show you is the Round tool. We have completely reworked the Round tool. Thank you very much for the developers. This is absolutely a time-saver, because in the old days, you have to click on every single edge. And now you can do a box selection. And you also can change continuity options and whatnot. And this is absolutely a game-changer.

I have used that here heavily on ETRAXX. For example, here on this air outtake, which is basically trimmed out and I just wanted to do a radius on top of a draft surface. And I just have to do a box selection over everything, and that's it. And it's done. So it's super, super fast.

Also here you can see this on a more mechanical object if you wanted like that, very geometrical object, our Autodesk logo. But it takes basically everything, every edge in one, recognizes everything. You can change radiuses, you can change ball corner types. So yeah, this is absolutely a lovely, super fast tool now. OK, that was the Round tool.

Let's say you have your details already, like I have done here right now with this round tool or so. And I have now multiple more details, like panel gaps and cut outs and drafts, like I have here on that object. But I want to go on that SubDiv already.

So it's heavily detailed already with Nubs tools, but I want to do some changes now on the SubDiv directly. And this can be sometimes very tricky and very slow because of all that hierarchy and history behind it, so I want to do a step back basically. But how do you do that? Because you don't want to delete all the panel gaps manually.

So you can load that file directly into the Reference Manager, select the object, select the SubDiv, and then you, like I'm doing here right now. Obviously controls is not working, because it's a reference. And what I can do now, I have selected the SubDiv, and say Promote SubDiv. It's a very hidden functionality, or not everybody knows that, probably.

So I can hide the reference, and what you can see, I have directly in my default layer the ready-made SubDiv back on [INAUDIBLE] Normally, of course, what I also would do, I would put it in a backup layer before I'm creating some. But in case you haven't, or in case you don't want to search too long for the original SubDiv file without details, this is a very handy functionality right now from our Reference Manager.

So I want to talk a little bit about Dynamo Tools now. Like I mentioned already, this is one of my top favorites. The Tire script, I want to talk quickly about the Tire script and show you how easily and fast this tire can be built up.

So you see here, basically I'm just using also the Dynamo toolbox and I'm selecting just one single point. You can see that point here in the first frame of the video. And I'm just selecting this point, click on Create, and then it's creating for me that tire. And I can play around with the proportions for the rim sizes, also with crowns, and shoulder sizes and shoulder fillets.

And then I have created directly within one click my tire. Also I can now play around with the tread, and when I'm happy with it, I can just push that tire into VRED, and that's done. And obviously what I've done here is I've imported the tire basically in VRED, put a Substance, slick tire material on top of it, and that's it. OK, in that case, I have also created this underlying white structure with a separate trimmed out surface from Alias.

OK, and yeah, obviously the big advantage of that is I can create so many different tire variants right now within just some single clicks, which is absolutely amazing. And it's a lot of fun. And yeah, this is then, obviously, the outcome directly on the car. And I think it looks amazing already with that quick workflow.

And promise me, we will definitely work on the tire script Furthermore, and stay tuned and let's see what happens with that. So we will definitely try to improve everything. And if you have some improvement requests, I am also absolutely open to hear them. So please, ask me via Insta or LinkedIn if you want to.

The next group that I have used also is a super handy tool. It's the tool, which is called Create Holes with Fillet in Place and Screws. This is a very long thing, but it's doing so many different operations in one go. So I show you that directly also in life-- so what is it doing? It places a screw for me and creates a hole around it and a fillet on top of it.

And this here is this little icon to it under the [? pedaling ?] tip of the Dynamo toolbox. So I'm going to play this video now for you so this is the area where I placed basically some points. So I'm starting now this script. I have to select a surface first.

So this surface, I'm pressing Accept or Spacebar if I want to, then I'm selecting the object, the screw in that example. I hit Space bar. I'm selecting the points as well, and I can adjust, then, my hole size and fillet sizes. I somehow miss to select these points properly. Hit Accept, and now you see it's done already. It's a pretty quick calculation. I can adjust the height of the screws a little bit if I want to.

And what you can see here, you can see here two surfaces underneath each other. So one is the original surface, which I'm hiding here right now, and one is the surface which comes, then, the modified surface, which comes directly from Create VR.

And obviously, as I see, I can do a [INAUDIBLE] and adjust more on these fillets and also on the height of it. And that was it. And within some seconds, I have basically placed some screws onto it. And I have used that multiple times on this car, and it was definitely a huge time-saver. So please try out the new Dynamo Toolbar with all of its scripts.

So as well as here, this is just an example. I will not show you that anymore. This is a Grill patterning script, if you wondered like that. It creates a hexagonal pattern as a SubDiv. And here, you can see that these holes are a bit bigger in the middle, and they are fading out. They're getting smaller towards the end.

Yeah, and this is basically what you do as well. Like, you select an object. In that case, you select a surface where you want to have the patterning being made of and hit Accept and then play around with all the sliders you have and with your values. And that's it. So you can have loads of fun and loads of creativity with it.

So that was it. And the next big part is the so-called Blended Workflow. We call it Blended Workflow, the workflow between Alias and Fusion in the concept design process, mainly in the concept design process right now.

So for me, as a designer, I figured out that there are more or less four different topics. Why this makes total sense for me, for me, it makes sometimes sense to create for my visualizations, for more realistic visualizations, quickly some concept shapes which are very easy to do with solid modeling.

Their solid modeling has obviously sometimes some advantages. Like you can see here, in one of the middle pictures of some of these antennas. I've created them in Fusion so quickly. And I was very happy using here a solid modeling tool.

Also the advantage on solid modeling is for more engineering parts if you wanted like that. For example, on the left lower side where you can see already the frame of the ETRAXX underneath the hood, which consists of so many parts and stuff like that. And I'll come to that later.

The next thing is I use generative design within Fusion to get more design inspirations. So let's say, me as a designer, I'm running out of ideas, and I can quickly push my SubD model into Fusion, make a solid out of it, and why not trying to let a generative design run through it and let's see what the computational design gives to me.

And the next thing is, obviously this is a part that I don't want to cover too much, because it's going into more engineering things, and for me as a designer, I can't talk too much about that because I'm working normally with an engineer together. But for generative design optimization of single parts, Alias and Fusion makes definitely sense.

So first of all, as mentioned already, quickly creating details for more realistic visualizations of your concept, like you can see here. And here on that frame, for example, I can show you that-- I've just here on the left side, you see just this is the SubDiv frame, the frame which is made in SubDiv with some crease edges within Alias. And this is just more or less a rough object, a very, very simple object.

So now I can put that directly into Fusion, create, just stitch it together. Select everything, stitch it together, and it will automatically make a solid out of it. That is absolutely easygoing. And then you can already select your crease edges within Fusion, and it will build, instantly recognize the complete edge loop, and you can create within one click. Also a fillet on top of it, which is very nice.

Obviously here, I also want to have more advantages of not only creating a fillet-- because we can do that now with the round tool as well, which came out a little bit later-- but here, I want to take more advantage of, yeah, solid modeling. So like creating shells, doing Boolean operations with it, and creating this kind of engineering, underlying skeleton structure of this frame.

And yeah, I thought it was extremely quickly to do that in Fusion. And yeah, as you can see here, you see most of my parts that I've done for the ETRAXX, all these engineering parts, all these mechanical parts directly in Fusion as well as the complete class. I just exported the SubDiv glass hood, did a thickness onto it, did a Boolean operation, cut them out, did some tiny fillets on the edges done, and export to view it, basically.

One thing which I mentioned already, I don't want to lose too many words in here, is generative design optimization. Like here, weight, materials, costs, or stiffness, like here on this engineering parts where the wheels are.

One very interesting workflow that we found out and which I think can be pretty much helpful is you're using generative design for your new concept ideation. So you see here this kind of seat, this racing concept seat. And I took out just one single frame, which you see on the left upper corner. Just one single frame-- this is a SubD, by the way, still-- into Fusion.

And my colleague, who is an engineer, he was pretty quick in returning me back multiple different ideas and different designs, what the generative design simulation has done. So I have a ton of it right now. And for me, it was then pretty difficult to go through them. And some I found obviously interesting, some not.

I chose two very interesting concepts. One, on the left side, you see this from the front, there is a sort of a layer design here, layer structure. And on the right side, on the right image, you see here from the side view a sort of holes which were breaking through.

But I also don't want to lose here this. What I can see here, I'll show that with my mouse right now. This feature line. I don't want to lose this feature line, and therefore I can't use just this simple generative design object like it is, because I want to put more design into it.

So I married basically both of these concepts together and created a new object, also just SubDiv right now. So this is still on the concept phase, and was pretty much fast forward. So that takes, I don't know, 10, 15 minutes if you wanted less.

And then what we did, we pushed it back into Fusion. Again, my design and run some load cases onto it to see what the stiffness is doing. And it was very surprising. So we have the same stiffness. We have a 30% weight reduction. And so I would say this is definitely quite of a success here.

And here's the outcome, again, with some VRED renderings to show also some materials and to make it more realistic.

OK, the next one, the next big topic is the Clay Workflow. We did a Clay Workflow. We did Clay Milling and Printing with Kolb Technology. This is a company which is close here to Munich in my area where I am living.

And the company Kolb is the company who is creating these milling machines. Multiple car [? OEMs ?] have these milling machines already. I don't want to name some of these, but they are very often used in the design studios. And yeah, right now, they are also showcasing how a printing workflow can be.

And for the printing workflow, I definitely needed to prepare this complete ETRAXX again. First of all, we did this, obviously, not with a detailed version. We do this with the concept version right now. And what you can see here already, I closed basically all these air intakes on the front and on this side wind tunnel, and on the back wheels as well.

And Additionally for printing, because I can't print overcuts in a negative angle. I have to straighten up basically the whole car here from the front. You see that pretty good? You have to straighten that up. And I also closed here the wheel arches completely for the printing module.

And then we just pushed it into the printing software here. In that case, it's Power Mill, and we created basically the first printing model, and we can simulate that obviously. But better don't ask me about that. I am just the designer and can't tell you too much about this directly, this process, how to work in Power Mill.

But the case is pretty clear. Why do we want to print clay, first of all? And the answer is pretty much easy, as this is the process that you can see now. When I want to have some more material on top of it, I'm doing this like 50 years ago still. So I'm putting just some clay manually on top of my complete object, and when I have a 1-to-1 object, that can be definitely quite time consuming and, yeah, it's a lot of work.

But now, Kolb has done this printing machine out of their milling machine. So they just have the same milling machine and they're just exchanging the printer head. And what you can see here right now, this is where they're printing the ETRAXX already, obviously in a scale model. I believe it's 1-4 or 1-5. I can't recall right now.

So can you also see this little fine structure in the middle of, because you don't need too much material in the middle. So you can create a grid, if you wanted, like that to save some material and also save some time.

Cool thing on this, this model is fully clay. Obviously you can do this only with a scale car, but it's fully made in clay and you can recycle it pretty easy, if you want to.

So this is the printing process. Obviously on a 1-to-1 scale car, it looks a bit different. A 1-to-1 scale car is not consistent. It doesn't consist out of clay 100%, so company Kolb are printing on top of it what you can see here with a much bigger printer head, if you want it like that.

And I just wanted to show you these pictures, because it's I find it extremely impressive. And I'm totally a fan of it, because it can also make your clay workflow much easier, much faster. And clay is still a material that has often been used.

So we are preparing now for milling. What you can see here now from the front view, I have done this undercuts because I can mill them out. I have also put some wheel arches in again. I have also this kind of line here on the front and on the back, and also a little undercut.

So this is still a SubDiv file, very low res, and it's basically good to go for the milling process already. And what these guys are doing is, like I mentioned already, you just have this milling machine, then you exchange the printer head, and then you put the milling head on in it. And that was basically it, and you are ready to go.

All right, and obviously what you can do-- I don't want to go too much into detail with that. In case you have any questions to Kolb and to their technology, I can give you contacts or you can reach out to them directly if you want to. Yeah, just saying, I'm happy to give you some context if you want to hear some more details to it. I was just so curious or excited to show you guys this, because I find it very exceptional what these guys are doing.

And obviously, what they can do, then, as well, which is the obvious step is they're putting a scanner head on top of it, and they're scanning it. And they have defined scanning paths then, and it's automated. So the scans are coming out extremely nice.

For me, as I'm working very much in digital also for the complete design process for the complete digital twin process, this is absolutely amazing now. So I have here this scan now, which is pretty clean, and obviously I can put that into VR or AR or whatnot and have reviews for my digital twin again.

OK, the next big topic that I wanted to talk about is visualization, and I wanted to talk about some tips and tricks, what I have used within my visualization process. I don't want to go too much into detail with VR and AR. There are other talks out there who are definitely talking about that a bit more in detail, but what you can see here, obviously on that image is the VR collaboration scene, if you want it like that. And yeah, this is definitely a mind-blowing thing if you can watch your object in VR.

And I don't only do that in VR with VRED. I also do this with Alias already, and obviously with Create VR. In Create VR, you have already your object in different scales. But I'm also using the SubDs directly in Alias, switch in Alias directly into VR to have the first quick look and you can have a better understanding about your design, because you get a better connection.

And obviously what I am also doing is I'm using also the simplest first SubD models and I push them then from time to time on a regular basis into VRED as well because I want to see how reflections are set, and I want to see different materialization.

And I want to also use that with ray tracing, like you can see here. This is a fully ray traced image, but it's also absolutely awesome to see your object in a Real Time ray tracing session. And this can be also-- just to see the simple object, just the non-detailed SubD because it gives me then much more confident about how the surface really looks like and how it reacts within ray tracing with different lights, also with different materials and with different environments.

So I can really gain more confidence in using ray tracing here, basically. And not only VR. VR is absolutely amazing, definitely. But yeah, Real Time is a big thing. Like you can see here, I showed you. I believe I showed you that picture already in another slide.

So this is what I'm talking about, materialization. So also here in this Real Time scene, it's obviously a Real Time scene. You see that. But still, I can have the first impressions already in Real Time in VR with loads of obviously substance materials on top of it.

And yeah, this is it. I want to give you here some other impressions. This is a studio shot, and here a front view with a [? Falk ?] feature on the camera. And this is one of my top favorites where we imported this CFD calculation, so the calculation of the airstreams into VRED. And yeah, when you're doing a fully ray traced image onto it, that looks, for me, absolutely stunning.

OK, when we're talking about light as well, we have the new area lights. And this is definitely for open [? channel ?] for Real Time. The game-changer, definitely. Maybe you have seen that already on one of my What's New videos or you saw a presentation already, but I definitely don't want to leave someone behind, because this is one of my top favorites from the last release.

And I'll show you quickly a video, how this is. So this is how it's working. This is the so-called LTC lights, linear transformed cosines. And on the left side, you see the old behavior, and you see also these glossy reflections, which are very noisy. I'm going a little bit back where you can see this noise perfectly, and maybe I'm stopping on a certain angle for you.

Here, that one. Oh, I can't stop here. Sorry. Yes, I can stop. I'm scrubbing the timeline a little bit.

What you can see here, this is perfect. So here, all these glossy reflections on the car, and they are super, super noisy and that doesn't make any good look. That also, this is the same appearance when you use carbon fiber, for example. And here on the right side, you have a perfectly lit image, which is so close now to ray tracing already.

And I'm showing you here some other examples here. For example, the motor. And this, as you can obviously see, it's such a huge difference. And when you switch now to ray tracing, you really can't see a difference. Here are some shots of the interior. And look at that leather and that material, how it's coming out much better because of that glossy reflections.

OK, that is it. And I wanted to give you some tips and tricks as well as talking about a little bit of materials. So in my case, I want to talk about performance optimization with Multipass materials. And as you can imagine already, this ETRAXX has so many decals on top of it. And what I'm normally doing as an artist is absolutely obvious.

I'm just using the drag and drop functionality with the Windows Explorer, so I'm having that window of the Windows Explorer and grab just my JPEG, or in many cases, my PNG file with transparency and drag it onto the car, and then I can directly manipulate it back and forth and scale it and rotate it, and this is absolutely perfect for a 3D artist.

But that leads also into a huge problem, because then I'm creating-- and you see that here already-- many different sub-materials within one Multipass material, and you don't want that. So what you want is only two sub-materials, like you can see here on the right side. Here's the Multipass material, and I only have two sub-materials within it. This is a metal in that case, and here is a decal on top of it. And that's it.

And I'll show you why. Because if you don't optimize the scene, I'm running the same non-optimized scene on my computer, which is here. In that case, it's running a Quattro A-6000 card, and what you can see here is a Multipass material with a ton of details onto it. And this is slowing down my performance massively. So around 10 frames per second, this is not really fun anymore.

As you can see also, I haven't done any occlusion shading already on it. That came later in the process as well. So it was pretty slow already.

And let's go to the next slide. This is what I mentioned. When I'm optimizing that and I'm using exactly the same [? antilizing ?] level, medium, when I'm optimizing it, then it looks like that.

So then we have here, in that case, between 30 and 50 frames per second, something like that. It is normally a bit faster. I'm normally on 60 frames per second, but I'm having here-- this is just as a side note-- a frame counter, which is basically a Python script which creates a scene plate on top of it, but this frame counter also eats some performance off of it.

So therefore, I'm not reaching here in that case the 60 frames, but it's also the same for the non-optimized scene. So you see, we have a huge increase of that if you're using just only one or two sub-materials in it.

And how can you achieve that? Or how I have achieved that? Because I have basically put in so many objects and I had to separate them. So like this button here, this Push button, this was basically also in the object imported into one big shell. And I have to separate it into a separate object, and then I can put a separate decal on top of it.

And the process, how it is, so what I really, really enjoyed then is now I'm in the process of creating UVs. I'm creating UV sets for every single object if I want it like that. And I'm using the new projection method, which is here. And we have some different modes on it.

And I can show you here, that must be a that must be a video. Yes. So having here this push button, and here on the right side, you see the projection mode and I'm going to project and select Play now hopefully. Yes, I'm using Play now and it makes a projection, and with this projection, I can also center it, go to Object Center with this projection. I'm creating the UVs from out of this projection.

And that is a pretty fast method right now, which is pretty new. This projection method, especially for all these three modes, so planar, cylindrical, and tri-planar. And yeah, that makes my UV Creation Workflow so much easier now.

And what I have also done, this was one of my first tests. I could have separated here more objects, but I wanted to save some time with that and I just created one top view of the main body, one top projection, and used one big, enormous, I believe 8K texture for all these little decals on top of it.

Additional optimizers that I have done here is I converted everything into [? polies, ?] because sometimes vertices can be shared. Also it cleans out the hierarchy. Additionally, I consolidated many groups together into a smaller hierarchy, so I tried to get rid of too many sublevels and make it as clean as possible.

Also what you have to always keep in mind, at least so this is the case on my side, what I'm very often doing is I'm tending to run nuts with the texture resolution and substance materials, and I'm tending to put the highest on. But that can also increase your loading time and all that stuff, so better maybe reduce the substance material texture issue resolution. You don't always need 8K, and it could also blow up your graphics cards [? RAM ?] if you don't pay attention.

And last but not least, I wanted to show you, which was also very handy for me because when I'm having the car now in a completely optimized state, I want to put it into an environment. And environment is a pretty tricky thing sometimes if you have, for example, big roads or concrete materials. And I'm talking here about the tiling, and I want to show you the issue.

So I'm having here on the floor, I'm making it a little bit brighter so you can see it. So this is the floor, and what you can see here already, there's obviously a tiling happening here in this floor material, and that looks horrible, especially if you're going out with your camera. But now, you can use this so-called infinite tiling, and the tiling is completely gone.

So what we are doing here, we're having a grid size. This is not the texture size, so it doesn't change the texture size. It just changes the grid size as where our developers put into account for calculating and randomizing these tiles around.

This is super helpful, especially in this case. Also, you must have seen that maybe on the What's New video that I have done there. I've used a carpet material. There are many carpets outside, which are not 100% tileable. And yeah, with that, you can easily get rid of it and to speed up your workflow.

And that was already my last topic, and I hope you enjoyed it a little bit and you found some interesting new tools, new ways how to work, and I hope I was a little bit inspiring to you. And yeah, as mentioned already, if you have any questions, please reach out to me. I'm absolutely open to every question via Insta if you want to, or via LinkedIn would be nicer. And with this, I would say thank you very much and have a good day.