00:00 Hey everyone, Martin from Quad Spinner
00:02 

00:02 here and today we're doing a deep dive
00:04 

00:04 on a range of distant rolling hills.
00:06 

00:06 This setup is the perfect backdrop for
00:08 

00:08 some dramatic realistic scenes. I chose
00:10 

00:10 the hills or highlands of Northern
00:12 

00:12 Ireland as my inspiration for this
00:14 

00:14 terrain as I wanted to create a shot
00:16 

00:16 with some of the dramatic northern
00:17 

00:17 atmosphere we see in shows like Game of
00:19 

00:19 Thrones. Before we begin, regarding my
00:21 

00:21 UI, I am using the toolbox mode and I
00:24 

00:24 have my Gaia Wan mask boards enabled.
00:27 

00:27 So, if you're wondering why my UI might
00:29 

00:29 look different than yours, this is a
00:31 

00:31 quick heads up. So, without further ado,
00:34 

00:34 let's set this thing up inside of Gaia.
00:36 

00:36 Let's start by placing a Voronoi
00:38 

00:38 primitive. I'm just going to drag it out
00:39 

00:39 here from the toolbox. In my case, I'm
00:42 

00:42 quickly going to use the seeds that I
00:43 

00:43 had in my previous setup terrain. So,
00:46 

00:46 don't worry about using the exact same
00:48 

00:48 seeds I am using. I'm just going to be
00:49 

00:49 copying the seed values uh just to make
00:52 

00:52 sure it is matching the terrain that I
00:54 

00:54 created beforehand. So that way I'm sure
00:56 

00:56 that I'm teaching you guys the right
00:57 

00:57 things. After that, I will lower the
00:59 

00:59 scale to 0.3. And I'll pretty much keep
01:02 

01:02 everything the same except for the
01:03 

01:03 function which I set to Manhattan as
01:05 

01:05 this function makes the slopes more
01:06 

01:06 linear which works better for hills.
01:08 

01:08 After this, I'm going to drag out a
01:10 

01:10 mountain range node. I will again copy
01:13 

01:13 the same C value and then set the style
01:15 

01:15 to basic and the bulk to medium.
01:20 

01:20 I changed the scale to 75 and I increase
01:23 

01:23 the height to 1.2. 24.
01:27 

01:27 Now I'm going to drag the output of the
01:28 

01:28 mountain range on top of the output of
01:30 

01:30 the Vorono node to create a combine
01:32 

01:32 node. I'm going to create a mask using a
01:34 

01:34 constant and a transform 3D node.
01:39 

01:39 And in the transform 3D node, I have to
01:41 

01:41 set the offset back to one as well. And
01:44 

01:44 now I can make some adjustments. I'm
01:46 

01:46 going to offset the constant on the X
01:48 

01:48 to.5 and minus.5 on the Y. Then I will
01:52 

01:52 use the roll function to rotate it by
01:54 

01:54 45°. And then I'll use the invert
01:56 

01:56 function so that we only have a small
01:58 

01:58 corner of the terrain that is set to
02:02 

02:02 zero while the rest of the terrain is
02:03 

02:03 set to one. This will be our basic mask
02:05 

02:05 to mask between the mountain range and
02:07 

02:07 the voronoi. I will also use a blur to
02:10 

02:10 then blur that mask so it's a bit more
02:12 

02:12 smooth. When I plug it into the combine,
02:15 

02:15 you can see how it operates.
02:18 

02:18 I did this so I have a flat valley that
02:20 

02:20 then kind of turns into this hilly
02:22 

02:22 mountain range which is perfect for a
02:24 

02:24 terrain that I can use as a backdrop. So
02:27 

02:27 the flat area will be kind of the area
02:30 

02:30 that we're looking at this terrain from.
02:32 

02:32 Afterwards I plug in a hydroix node.
02:34 

02:34 Hydroix nodes make sure that water
02:36 

02:36 doesn't get trapped on the terrain. So
02:38 

02:38 any places where there's no way out for
02:40 

02:40 the water, the hydroix will actually
02:42 

02:42 kind of create a river to get it out of
02:45 

02:45 there.
02:46 

02:46 After this, I place a rivers node,
02:48 

02:48 changing the down cutting to 02 and the
02:51 

02:51 headwaters to a th00and. And this shape
02:53 

02:53 will probably follow the hydroix node
02:55 

02:55 shape quite a bit. But you can still use
02:58 

02:58 the seed option to get different kinds
02:59 

02:59 of variations. To turn this into a
03:02 

03:02 hillscape, we're going to use the shaper
03:03 

03:03 node to blow up the terrain kind of like
03:05 

03:05 a balloon. Setting the shape to 0.3 and
03:08 

03:08 turning on local effect set to 0.25, we
03:11 

03:11 get more rounded peaks while not
03:12 

03:12 creating very steep and deep valleys.
03:15 

03:15 After this, I warp the terrain, turning
03:17 

03:17 the size down to 0.25 and the strength
03:19 

03:19 to 0.18. This creates some more
03:22 

03:22 interesting areas where steeper slopes
03:23 

03:23 and rock detail will form, and it also
03:26 

03:26 pulls the river into a more cool natural
03:28 

03:28 shape. Turning up the roughness on the
03:30 

03:30 warp node to 0.55 gives the terrain a
03:32 

03:32 bit more micro detail, which will add a
03:34 

03:34 cool effect after eroding.
03:38 

03:38 After this, I place a chokeoint node and
03:40 

03:40 rename this to base shape. This keeps
03:42 

03:42 the graph organized and sets us up to
03:44 

03:44 head into simulation. Preferably, you
03:46 

03:46 would want to add most of your macro
03:48 

03:48 details before this choke point and only
03:50 

03:50 add smaller micro detail like rock
03:52 

03:52 details in between or after various
03:54 

03:54 simulation nodes. Of course, this varies
03:57 

03:57 per project and you could always keep
03:58 

03:58 adding more nodes to push your terrain
04:00 

04:00 into the shape you want, but keeping a
04:02 

04:02 structure like this can help the graph
04:04 

04:04 stay smaller, which helps when
04:05 

04:05 exporting. Sometimes less is more. Now,
04:08 

04:08 on to the simulations.
04:11 

04:11 Starting off with none other than the
04:12 

04:12 erosion 2 node. We want this erosion to
04:15 

04:15 be quite light as we already established
04:16 

04:16 the large flow areas with the earlier
04:18 

04:18 hydroix and rivers node. I set the
04:21 

04:21 duration to five and down cutting to
04:23 

04:23 0.05. You can play with the erosion
04:25 

04:25 scale and see what works best. I landed
04:27 

04:27 on a scale of 250. A higher value would
04:30 

04:30 create more noticeable valleys and a
04:32 

04:32 smaller value more small flows. If you
04:34 

04:34 want both, don't be afraid to just add
04:36 

04:36 various erosion to nodes throughout your
04:38 

04:38 graph. They can shape both large and
04:40 

04:40 small details. Continuing with our
04:42 

04:42 erosion 2 setup, I increased the bed
04:44 

04:44 load to 0.5 and I set the discharge
04:46 

04:46 angle to something quite high at 35.
04:49 

04:49 This makes sure that the terrain is
04:51 

04:51 covered with a lot of sediment and you
04:53 

04:53 don't see the very noticeable hydraulic
04:55 

04:55 flow lines from the suspended load.
04:57 

04:57 After this, I set the shape to 0.6,
04:59 

04:59 shape sharpness quite low to 0.3, and
05:02 

05:02 the shape detail scale at a higher 0.4.
05:05 

05:05 This won't have a massive effect because
05:07 

05:07 the erosion itself is quite light. Now
05:09 

05:09 we'll take the output of the erosion 2
05:11 

05:11 node and add a thermal 2 node. The
05:13 

05:13 thermal 2 node will also have a very
05:14 

05:14 light effect. Setting the duration to
05:16 

05:16 0.15
05:18 

05:18 and then keeping all the base settings
05:20 

05:20 except for the angle at 35 and the
05:22 

05:22 sediment removal at 0.2. And lastly, the
05:25 

05:25 feature scale set to five. This will add
05:27 

05:27 very minor thermal erosion details to
05:29 

05:29 some of our steeper areas where the rock
05:31 

05:31 detail is still protruding through. It
05:33 

05:33 helps blend this detail into the terrain
05:35 

05:35 more naturally as these cliffs/roy areas
05:38 

05:38 would be more affected by the breaking
05:40 

05:40 effect of thermal erosion. After this,
05:42 

05:42 we add rivers, setting the down cutting
05:44 

05:44 to 0.3 and the headwaters to 500. From
05:48 

05:48 this node, we'll extract the depth map
05:49 

05:49 using an effects node set to auto level
05:51 

05:51 and equalize. It's useful data you could
05:53 

05:53 use inside of Gaia, but you can also use
05:55 

05:55 it in other 3D programs where you need
05:57 

05:57 to mask out the rivers. Using the snow
05:59 

05:59 node, we will create deeper patches on
06:01 

06:01 the terrain where the snow has settled
06:02 

06:02 but not yet melted. I set the duration
06:05 

06:05 to 0.15, kept the base intensity, and
06:09 

06:09 increase the settle duration to
06:10 

06:10 something quite high. Creating a
06:12 

06:12 slightly thinner layer of snow and
06:14 

06:14 making sure that it really moves into
06:16 

06:16 its final position after partially
06:17 

06:17 melting. Under the melt settings, I use
06:20 

06:20 the directional melt. Using this, we
06:22 

06:22 will get an effect of sunlight melting
06:23 

06:23 on one slope more than the others. This
06:26 

06:26 directional snow often reflects realism,
06:28 

06:28 tells a story about the climate and
06:29 

06:29 season, and it can really help your
06:31 

06:31 terrain feel more threedimensional. The
06:33 

06:33 following settings, like snow line and
06:35 

06:35 slip off angle, are more dependent on
06:37 

06:37 your own terrain. Snow line is, of
06:39 

06:39 course, the height at which your snow
06:40 

06:40 starts. And slip off angle kind of
06:42 

06:42 dictates how quickly the snow starts
06:44 

06:44 falling off a certain slope. If you turn
06:46 

06:46 this very high, almost all the snow will
06:48 

06:48 stick to the actual terrain. while if
06:50 

06:50 you put it very low, it will slide way
06:53 

06:53 further down less steep slopes. This is
06:55 

06:55 kind of used in conjunction with settle
06:57 

06:57 duration. Just play around with these
06:59 

06:59 settings until you find something you
07:00 

07:00 like. There's also other settings like
07:03 

07:03 model scale, but those need their own
07:04 

07:04 video to kind of be explained further.
07:07 

07:07 Make sure to add a portal on the snow
07:08 

07:08 output of this node for later texturing.
07:11 

07:11 Next, I will add another choke point and
07:13 

07:13 call this the final shape. The first
07:16 

07:16 thing I will cover is the snow setup.
07:18 

07:18 We're going to make a lot of use of
07:19 

07:19 dusting to create a realistic fuzzy snow
07:22 

07:22 layer on top of our terrain. Setting the
07:24 

07:24 strength to 0.65, leaving the snow line
07:27 

07:27 at 0.5 and increasing the falloff to
07:30 

07:30 0.65, we get a smooth fall off from a
07:33 

07:33 thick layer on top to very sporadic
07:35 

07:35 little patches of snow at the bottom. In
07:38 

07:38 the distribution, I will use the
07:39 

07:39 directional mode. This gives my terrain
07:41 

07:41 more shape and is visible in a lot of
07:43 

07:43 real examples due to snow drifting to
07:45 

07:45 one side or the snow melting on one side
07:47 

07:47 due to the sun hitting it from that
07:49 

07:49 angle. I choose my direction and set the
07:51 

07:51 coverage to 0.2. I don't have to adjust
07:54 

07:54 the slope coverage and I turn the flow
07:56 

07:56 to zero. I turn the melt down to 0.2 and
07:59 

07:59 in tandem with strength find a good
08:01 

08:01 balance between the density and the
08:02 

08:02 falloff of that density. I combine this
08:05 

08:05 with the snow output from the snow node
08:07 

08:07 using a portal on the mix node set to
08:10 

08:10 the screen blend mode. After this, I add
08:12 

08:12 a light color erosion with the transport
08:14 

08:14 distance set to 0.01, but the diffusion
08:17 

08:17 set to one. This will make my snow look
08:19 

08:19 a lot more fuzzy and soft.
08:22 

08:22 I add an export node, name it snow, and
08:25 

08:25 add a portal on the output for later
08:27 

08:27 texturing.
08:30 

08:30 Now I'm going to add some nodes to just
08:32 

08:32 export the data for later use. So I add
08:34 

08:34 a measure, set the vertices per side to
08:37 

08:37 4,96.
08:39 

08:39 Leave the topology on adaptive and then
08:42 

08:42 select create UVs and create normals.
08:44 

08:44 This will give us a 3D mesh export we
08:47 

08:47 can use in all kinds of software
08:48 

08:48 afterwards. I also use an adjust node
08:51 

08:51 and then plug in an export node and call
08:53 

08:53 it hypemap. This will just be our height
08:55 

08:55 map that we can use in all kinds of
08:57 

08:57 software as well. It depends if you want
08:58 

08:58 to use a 3D mesh or a height map.
09:01 

09:01 Depends on your preference or your
09:02 

09:02 needs. Lastly, I add a slope node. I
09:06 

09:06 don't change any of the settings in my
09:07 

09:07 case and then use another export node
09:09 

09:09 and call it slope again for later
09:11 

09:11 texturing in Gaia, but also texturing in
09:13 

09:13 other software. For my hype map, I use
09:15 

09:15 an EXR output. For other masks, I
09:18 

09:18 normally use JPEG because of the smaller
09:20 

09:20 file sizes. Unless I really need the
09:22 

09:22 dynamic range, then I'll use PNG16.
09:25 

09:25 After this, I add a texturizer and a
09:27 

09:27 texture base. In the texturizer, I set
09:29 

09:29 my texturizer to the H mode and then
09:32 

09:32 just play around with the factor and the
09:33 

09:33 secondary until I just see something
09:35 

09:35 that's interesting. On my texture base,
09:38 

09:38 I set the slope to 0.3, the soil to
09:41 

09:41 0.15, the patches to 0.3, and chaos to
09:45 

09:45 0.6.
09:47 

09:47 Again, you can play around with all
09:48 

09:48 these settings to kind of find what
09:50 

09:50 works for you. If you want more flow
09:52 

09:52 lines, then you turn up the flow. If you
09:54 

09:54 want less of those, you turn it down.
09:56 

09:56 I'm just looking for some random
09:58 

09:58 patterns, and I will use a different
09:59 

09:59 thing for flow lines later. I combined
10:01 

10:01 both of these together and use the
10:03 

10:03 overlay blend function just so I can get
10:05 

10:05 all kinds of random detail from both of
10:07 

10:07 these maps. Now, I'm going to use a
10:10 

10:10 trees node, but first I'll create an
10:12 

10:12 inhibition mask using a flow node.
10:16 

10:16 Setting the flow length to 0.6 six and
10:18 

10:18 the flow volume to 0.1. I really focus
10:21 

10:21 the selection down to the big large
10:24 

10:24 flows which will kind of constitute my
10:26 

10:26 rivers. Then I get a curve node and
10:29 

10:29 clamp down on the black and white ranges
10:32 

10:32 so that we really get a bright selection
10:34 

10:34 on those bigger rivers or those bigger
10:36 

10:36 flows. I then plug this into the trees
10:38 

10:38 inhibition and you can see that the
10:40 

10:40 trees don't grow on those parts anymore.
10:43 

10:43 I increased the count in thousands to
10:45 

10:45 600,000.
10:46 

10:46 Set the shape to big. And now I start
10:49 

10:49 working on the shape. I don't change the
10:51 

10:51 health or patches settings, but I
10:52 

10:52 changed the spread to 0.05 and then set
10:55 

10:55 the trim under back to 0.25. This gave
10:58 

10:58 me a good selection of the trees
10:60 

10:60 following the water flows yet still kind
11:02 

11:02 of growing in a lot of areas. Then in
11:04 

11:04 the aspect inhibition, I set the slope
11:07 

11:07 to 25, the altitude to 0.15, and the
11:10 

11:10 falloff to.5. I also set the peaks to
11:14 

11:14 0.1 so that there's no trees growing on
11:15 

11:15 the real peaks of the hills even if
11:17 

11:17 they're a bit lower altitude. I don't
11:19 

11:19 change any of the other settings and I
11:21 

11:21 definitely will get into the trees node
11:22 

11:22 a bit more in a following video because
11:24 

11:24 this node had a bunch of changes made
11:26 

11:26 and it's quite complex. So it will
11:28 

11:28 probably be the next node video that we
11:30 

11:30 cover here. I then take the trees output
11:32 

11:32 and plug it into an adjust node and make
11:35 

11:35 sure that it's set to equalize. Now we
11:37 

11:37 can actually view our map. I use a warp
11:40 

11:40 with the size set to 01 and the
11:42 

11:42 roughness set to one. And then I can
11:44 

11:44 play around with the strength to kind of
11:45 

11:45 create a more natural looking mask from
11:48 

11:48 these pixels that we get from the trees.
11:50 

11:50 This will help make the pixelated mask
11:52 

11:52 from the trees look a bit more natural
11:54 

11:54 and fuzzy, so there's not very obvious
11:56 

11:56 pixelized edges. Nowadays, the tree node
11:59 

11:59 has an actual area mask option. However,
12:01 

12:01 I didn't use it in this project as it
12:03 

12:03 was still under development when I was
12:04 

12:04 creating this. I will definitely cover
12:06 

12:06 this in a following video because the
12:08 

12:08 area mask option allows you to create a
12:11 

12:11 tree mask for other software without
12:13 

12:13 having to deal with the heavy
12:15 

12:15 calculations of actual tree points being
12:17 

12:17 created in Gaia. I create an effects
12:20 

12:20 node and then take the freshwater output
12:22 

12:22 from the trees node and plug it in.
12:24 

12:24 After this, I combine it with the output
12:26 

12:26 from the combined texturizer and texture
12:28 

12:28 base nodes. As you can see, I added a
12:30 

12:30 curve node in between there. That's just
12:32 

12:32 for a little bit of control if I wanted
12:34 

12:34 to adjust anything. It's just there for
12:36 

12:36 some control if you wanted to. I blend
12:38 

12:38 between the texturizer and texture base
12:41 

12:41 values and the freshwater output values
12:44 

12:44 and kind of find a middle ground where
12:46 

12:46 the flows of the fresh water are
12:48 

12:48 visible, but the patches and the random
12:50 

12:50 warping of the texturizer and texture
12:52 

12:52 base are also having an impact. And with
12:55 

12:55 all this varied data, I'm now going to
12:57 

12:57 plug in a sap map. For the sap map, I'm
13:00 

13:00 using the 0000 option under rock, which
13:03 

13:03 is a very basic sap map, but it creates
13:06 

13:06 this perfect kind of look of grass and
13:08 

13:08 thicker foliage we see in these northern
13:11 

13:11 highland hills where there's a big
13:13 

13:13 contrast between this kind of reddish
13:14 

13:14 brownish shrub and then the tan dry
13:17 

13:17 grass. Using the ratio on the actual
13:20 

13:20 combine node between the freshwater
13:22 

13:22 output and our texturizer texture base
13:24 

13:24 output, I kind of find a sweet spot. And
13:27 

13:27 then using the curve on the texturizer
13:29 

13:29 and texture base output, I can even
13:31 

13:31 adjust more things. You'll see me really
13:33 

13:33 playing around here. And I'm trying to
13:35 

13:35 find a good balance of this shrubbery
13:38 

13:38 kind of growth and then also keeping
13:41 

13:41 those flow lines. It's really up to you
13:43 

13:43 how you do it. There's all kinds of ways
13:45 

13:45 of getting this kind of look. I thought
13:47 

13:47 this was just a very unique and cool
13:48 

13:48 way, especially because when we use the
13:50 

13:50 freshwater output from the trees node,
13:52 

13:52 we kind of make our texture match the
13:54 

13:54 scatter that we'll get from the trees
13:56 

13:56 map that we exported. So when I scatter
13:59 

13:59 trees in Blender, for example, it will
14:02 

14:02 kind of follow the same flow lines that
14:04 

14:04 is visible in the Gaia texture I created
14:06 

14:06 because we're using that freshwater
14:07 

14:07 output from the trees node. I'm going to
14:09 

14:09 use a second sap map. This one, the
14:11 

14:11 green and then the number 289. We're
14:14 

14:14 gonna get this kind of grungy detail
14:16 

14:16 from this sap map and this kind of green
14:18 

14:18 detail. And we're just gonna change the
14:20 

14:20 hue, saturation, and lightness a little
14:22 

14:22 bit to make it look a bit more like dry
14:24 

14:24 grass. And then we're going to overlay
14:26 

14:26 it on top of our first sap map, which is
14:28 

14:28 like that very contrasty dark brown and
14:32 

14:32 light brown. This will make sure that it
14:33 

14:33 looks a bit more like foliage. It will
14:35 

14:35 look very dark and oversaturated. So,
14:37 

14:37 we're going to use an HSL node after
14:38 

14:38 this combination. and up the brightness
14:41 

14:41 and lower the saturation a bunch and
14:43 

14:43 then change the hue a little bit to what
14:45 

14:45 we want. So what this overlay did, it
14:48 

14:48 just added a bit of that grungy detail
14:50 

14:50 from the second sap map and put it on
14:52 

14:52 top of our first sap map was which was
14:54 

14:54 very smooth. And this will just make it
14:56 

14:56 look a bit more like foliage and a bit
14:58 

14:58 more grungy and gritty. And then after
15:01 

15:01 this, we're going to add a color erosion
15:03 

15:03 node with some diffusion, which will
15:05 

15:05 help make this look all bit more natural
15:07 

15:07 and less sharp. You'll see me playing
15:09 

15:09 around a lot more with the values of the
15:12 

15:12 curve and the combination between the
15:14 

15:14 fresh water and the texturizer texture
15:16 

15:16 base. I'm just trying to find a good
15:17 

15:17 middle ground of where I see this shrub
15:20 

15:20 foliage and the dry grass, which is the
15:22 

15:22 lighter areas. When I finally find
15:24 

15:24 something I kind of like, I add a color
15:27 

15:27 erosion node to then kind of soften this
15:29 

15:29 whole color map because it's not
15:30 

15:30 supposed to be super contrasty. It's
15:33 

15:33 kind of supposed to be like vegetation
15:34 

15:34 blending into each other. So, I make
15:37 

15:37 sure that the blend is not super high
15:39 

15:39 and the color hold is not super high and
15:41 

15:41 then add a ton of diffusion.
15:44 

15:44 After this, I add an HSL node, turn down
15:46 

15:46 the saturation, and add it back with a
15:49 

15:49 combine. And then use the slope node
15:51 

15:51 that we had earlier through a portal.
15:53 

15:53 This will just quickly make our slopes
15:55 

15:55 less saturated, which will kind of give
15:57 

15:57 it the rocky look.
16:01 

16:01 Lastly, I add another combine node, set
16:03 

16:03 it to screen, and then use the portal on
16:05 

16:05 the input two and get our snow output.
16:10 

16:10 And now our snow is laying on top of our
16:12 

16:12 terrain. Using a light X node, I can
16:14 

16:14 view the texture under better lighting
16:16 

16:16 conditions, giving me a better idea of
16:18 

16:18 the actual look of this texture. Now,
16:20 

16:20 you can go back into your texturing
16:22 

16:22 process and change all kinds of things.
16:24 

16:24 Maybe want to add more or less of this
16:25 

16:25 dark foliage popping through. And we can
16:27 

16:27 do it in all kinds of various ways. And
16:30 

16:30 this is the beauty of Gaia and the node
16:32 

16:32 system. You're it's very easy to just go
16:34 

16:34 back and forth into your settings and
16:36 

16:36 change things around. And you just end
16:38 

16:38 up having a lot of control and you can
16:40 

16:40 really dial in what you want perfectly.
16:43 

16:43 So at this point, I'm going to turn the
16:44 

16:44 viewport up to 4K. And now we can see
16:46 

16:46 our terrain in its full detail. I might
16:49 

16:49 actually lower the blending rate of the
16:50 

16:50 fresh water so the flow lines aren't as
16:52 

16:52 visible. I think the sweet spot I
16:54 

16:54 personally found was 0.4. This really
16:57 

16:57 gave me a cool contrast between the
16:59 

16:59 flatter areas and the sloped areas just
17:01 

17:01 like we saw in the actual reference. So,
17:04 

17:04 here they are. Super cool Nordic hills
17:06 

17:06 that we can use as a backdrop to any
17:08 

17:08 dramatic cool northern shot. I really
17:10 

17:10 hope this gave you some insight onto
17:12 

17:12 making a hillscape which is a lot
17:14 

17:14 different than of course a mountain. It
17:16 

17:16 still carries a lot of detail, but I
17:18 

17:18 think in this kind of situation, you
17:20 

17:20 really have to pay attention to that
17:21 

17:21 micro detail and of course the texture
17:23 

17:23 of the foliage or the grass that will be
17:26 

17:26 growing on this hill. Um, you can
17:29 

17:29 scatter a bunch of things on hills, but
17:31 

17:31 making sure that that base texture is
17:33 

17:33 super detailed will make sure that
17:34 

17:34 everything on top is just looking that
17:36 

17:36 much better. Anyway, guys, I really hope
17:38 

17:38 that this was super helpful and very
17:40 

17:40 insightful. Let me know what you guys
17:42 

17:42 think. And yeah, the next tutorial will
17:44 

17:44 most likely be covering trees.