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I've probably commented on this video before but I don't care. This video helped me so much in understanding how to do this technique. Explaining which way to pull the paint and how between blends was an absolute game changer for me. Using two different colours really helps sell the look and using the final highest highlight all over to tie it all together really ups the piece. I'm still a brand new painter I've painted a total of 11 minis, but i really love this look and so I wanted to learn how to do it. I'd watched a fair few videos trying to teach people, but none landed like yours. You explained everything from brush techniques & control to paint consistency & more. You're a great teacher and are highly entertaining. I also learned the chain sculpting from you which did the exact same things for me. Now I'm still not great at NMM but I understand it now and every model that I've painted has been better than the last, and I've made each of them unique with chains and chain mail. SO THANK YOU JUAN! You're a legend! I don't have the right to ask for anything but because I don't think you'll see this I'm going to be cheeky and ask. 😅 I'd love to learn some more little sculpting or fabricating techniques from you, to personalise my pieces. Again thank you good sir!
The four lights illustration was extremely helpful in understanding how this style of NMM is painted. Also appreciated the value map that you showed. I wish more tutorials would demonstrate where the highlights and shadows are more precisely placed!
Congratulations!!!. It is the best video I have seen explaining the lights on armor. I've seen the light, I'm going to start painting blue armor right now ;-). Thank you!!!!!
Showing how to do NMM in a standard color, rather than a metallic one makes me more confident about wanting to try this technique for the first time. I'm guessing you could try this will all colors, or if done right, advanced painters could possibly achieve 2-tone or tri-tone metallics. Love your work as always
@@JuanHidalgoMiniatures Hell yeah mate! Love to see NMM orange. Your tutorials on NMM are the best on UA-cam, you explain it so damn well that anyone can achieve it. Be interesting if you did those 2-tone metallics as suggested above.
EPIC start. What an incredible intro. So good. Then it goes on to hypnotize you, great soundtrack for the background. What an amazing thing to see happen . This has helped me immensely. Thank you for showing this process in such detail. Masterfully done.
@@JuanHidalgoMiniatures Loving your channel! Was wondering, do you have any videos about how you set up your camera to film your work? When I try to get that close, I usually end up filming the table XD
No, I haven't and don't plan to do it. But if you feel curious I used a Sony HX300 for a very long time (including this video) and I loved it. A cheap and rugged workhorse. Now I use a Canon M50 with a 18-150mm lens and it's an absolute delight. Usually for 28mm minis I have it zoomed to about 70 mm. Both cameras were hanging from a good quality microphone articulated boom arm anchored to my desk. Hope that helps.
@@JuanHidalgoMiniatures I think that's the key! Be brave. I'm always a really unsure what colours too use and things so really appreciate these videos. I tried your gold...I may have ott with the ushabti bone but like you say practice practice practice!!
You can always do an in between step mixing Zamesi and Ushabti if you dont have as much control of glazes yet. But yeah, just keep painting and keep pushing yourself
Many many thanks :) just started painting and it's priceless to see how it's done by the guys who know what they do ! though, as i can barely correctly basecoat, the journey will be long ^^
Excelente trabajo Juan!! La intro muy chula y la mini te ha quedado brutal, el enfoque de como pintar el maldito(porque a mí no me sale) Nmm ha estado genial.
At last, NMM that doesn't look like a low-budget saturday morning cartoon. You understand how metal actually reflects light. I might actually start using these techniques now.
@@JuanHidalgoMiniatures so yeah, I tried following the principles and it's not that bad. The transitions need some work, but it can be done. Well explained
Your skill blows me away. You have inspired me to get back into painting. I am glad I stumbled onto your videos the other week. You have gained a new subscriber. One question I have is how do you make your glazes? Thanks for all you do.
Juan! Confiesa de una vez que dices que odias el azul, para ocultar que lo amas en secreto...!!! 🤣 Sobre la miniatura, pues que puedo decir... haces un excelente trabajo y este tutorial es de lo mejor que ví para entenderle al MNM, y si crees que ver a Latham perfilando es poesía, pues verte a ti hacerlo es música instrumental, saludos Capo!!!
I wish that I could afford to throw down on Patreon, but the unpaid work that inspired me to get back into miniatures and active gaming after a couple of decades off (as a disciplined relaxation to keep me from going too nuts) is demanding all of my resources above survival levels. I can honestly say that this is the best demonstration that I have seen of the NMM so far, and the presentation of the material is simply friendly (a quality I have noticed with many of these videos) but also incredibly clear without assumptions about the viewer having seen other videos in the series. That is important. Since I am trying to make this comment worthwhile I will offer criticism concerning something that fortunately can be altered, rather than just praise: The inconsistent audio quality sucks donkey b*lls. lt is clear that it is a single source of audio reception that is optimized for when leaning into the work area, but it drops several dB whenever the words are not directed to the space right in front of the microphone. There are several ways that this could be rectified so that it is not necessary to actively control the volume to counter the volume changes in order just to hear what is said. - You could limit your speech to when you are facing directly towards the microphone. This would suck. - You could invest in a different microphone that is less unidirectional and use audio reflectors. Working that out shouldn't be too difficult if you are capable of modelling sound in your head in the same way as you do light (although if you started getting into the cymatics of sound it could occupy you for some time at the expense of painting, time is the down side of learning most things). - Headset with mouthpiece, like a gamer. - Get a second microphone to be placed ideally for where your head faced is when you are mixing paints, so that you have two parallel tracks of the same recording. You can blend the two channels into mono, you can use both as is so that the volume balances out between the two (with a doubtlessly trippy back and forth stereo pan), or you could use a stereo mixer and cross fader on a board to have the clearest channel of the two be the main. There are obviously other options depending on financial resources and skill sets of your production crew, etc, but it would be nice to be able to hear what sounds like good advice spoken just a bit too far away to catch.
Thanks mate, I really appreciate the feedback. My main problem is that my production crew is just myself 😂, I recordel alone, I edit everything and I obviously do the painting and I'm limited by my equipment. That is the camera microphone, that's all I use and I'm very aware of its limitations. I also had to learn everything by myself too so my knowledge is limited too but I'm learning something new each day. Sadly the camera I use and own doesn't admit a plug in microphone and I am looking at recording the audio as a separate source but as I said, it's still a work in progress. Thanks for watching mate, and again, thanks for your feedback.
@@JuanHidalgoMiniatures Just because I do like your style and would like to see AND hear more I'm going to offer a couple of ideas that you could try or not at your own discretion using your much more detailed knowledge of your circumstances to decide. I enjoy writing anyhow, so you don't have to feel like I am put out by it (no pressure) and even if I didn't watch any of your later work myself I have a simplistic philosophy that if the world that I live in gets better for someone without it getting worse for someone else, I then live in a better world. It's a very selfish attitude, I know, but there it is. Assuming that you are on the same kind of budget I normally am (almost none) there are a couple of things that I've managed to pull together that might be useful to consider: I've been doing spoken word rants and absurdist humour for a while and am just beginning to get over shyness about putting them online for people to ignore in their masses rather than just my friends, so my non-audience is growing by leaps and bounds. The sound quality has improved though, since I bought a second hand Sony voice recorder for about $15 off of craigslist, and got a uni-directional mike on sale at a local Shopper's Drug Mart. The Sony has a few settings for information rate, but even at the highest quality I could still record a couple of hours non-stop without using a memory card; plus it has settings for voice/music and three levels for sensitivity. I went through and recorded the same basic sounds on each until I figured out which sounded best for what use. My mic comes with the normal foam cover on the end, plus what I call a "sound tribble", a furry cover that goes over the foam like a fuzzy condom that keeps plosives (Puh!) from popping in the same way as a spit screen does with traditional microphones. With something along those lines, you could experiment with having a mic set up with a sound reflecting surface(s) or cone using different settings and directed right in the middle of where the two facings that you use would be. You could also have your paint pots, etc positioned so that you don't have to turn your head so much. Depending on what the software is that you use, if you used a program like Audacity to record the sound, tweek it, and transfer it to any one of several file types it should be not too difficult to drop it right onto the video. A key thing I've learned with that sort of thing is to only learn the most basic functions, and slowly play with other ones over time, for me it's noise reduction, compression, equalization (a boost for the bass and a boost of treble make the human voice a bit more full) and normalization. The rest is cut and paste. Because you seem to work with an alternation of speaking and just painting, you would have a lot of leeway for correcting sound bites so long as you matched the timing fairly well, and could slip the corrected bits into the video without it being a jarring contrast if some sound was a bit different, etc. I'm still working at learning video, but one resource that is universally awesome is any sort of articulated stands and clip type functions to act as a lighting or sound boom similar to the "helping hands" used by solderers, etc, made in various scales. They're just plain handy. There is also an infinite number of uses for mirrors (to move light around for illumination off screen, or even to set to show something that won't fit in the workspace right in front of you) The thing that I've been finding helps the most is a working concept I call "ghetto tech", which is: "See something that is great, but is too pricey. Ignore the item itself, but look at what it does and how it does it. Determine how to build it or duplicate the function using stuff from online classifieds, found in alleys, or just lying around the house. Test it, if it works then refine it as much as possible until upgrades are an option (if they are even needed). Kind of like basing minis with stuff from a jar of "neat things". It's fun. (depending on how long it takes you for instance to put in the text describing the specific paints that you are using, it might be worthwhile making up re-usable cards printed with the names that you plan on using in any given session, that you could place on the surface in front of you when you paint?) Again, I don't know if any of this is useful to you or not, I just hope that it doesn't sound condescending or whatever. I have no way of knowing what any other human being knows. (I'll probably be checking out more of your work, it was actually quite inspiring watching Shovel Knight)
How did you smoothen the highlights out with teclis blue? Did you just keep glazing in one direction until it came out nice? Also, what is the purpose of painting kantor blue glaze in the opp direction of the teclis blue?
No ratios sorry, each paint from each manufacturer is different and even if I gave you a number my paints were pre-thinned when I transferred them to droppers so that number would be useless for you. You need to learn to make those by feel, that's why I show the consistency on my thumb, match that.
Really good implementation of classic texture expression and reflections. The colors for highlights and shadows are chosen very well also (worth a tutorial all on its own) I love it! Only thing that might improve it, could be making the front ‘loincloth’ a more contrasting color. Red or yellow for warmth? Or purple for more subtle, or orange for very hard contrast?
I learned a lot from this video, thank you!! I wanted to support and buy some brushes via your link. But i was wondering which size is the right one for this technic an for contrasts? :)
Right now (and on that video) I use Rosemary and co series 33 size 3 and co, but they don't have Affiliate links (yet) but if you wish to buy Raphaels, my recommendation are, size 0, 1 and 2
That was an amazing tutorial! Thank you I do have a question though. How would you paint a miniature like this, but also accounting the environment? From my understanding, the armor is reflecting the light. So if the ground is green, would you paint a green glaze in the shadow?
Well, thats not really true with coloured metal. If you see anodised aluminium I doesn't really catch environmental colours at all. Same goes for gold, everything gets tinted yellow when reflected in gold. But if you want to do it, I've done it for steel, you need to glaze the colour you want on the parts that would reflect that colour.
I love your videos and I have a question when you thin down your paints are you just using water or are you using mediums like lahmian medium or contrast medium?
This is awesome. I've been trying NMM for a while now (with gold) and this makes things a lot more clearer. BUT, i have to ask, on the gold shoulder parts, why did you have he highlights in the lower areas (the corners) and the shadows on the raised areas? I would have thought it would be the other way round? Is that personal choice or is there a practical reason behind it?
@@JuanHidalgoMiniatures thanks for the reply. i had to ask as it looked right but was against how i understand shadow and highlight to be so it was throwing me off. haha.
How on earth do you A) get such clean glazes? Mine are patchy and coffee stain to hell and back! B) figure out exactly where to place highlights? I struggle so badly with this!
I explain how to place the highlights in the video, as for the glazes, if you are getting coffee stains, its due to probably having too much paint in the brush, try to unload it in a paper towel before applying it but if you are still having trouble, thin your paint using Lahmian Medium instead of water, it will eliminate the coffee staining and the patchiness. Also remember that the directionality of the brushtroke is extremely important
@@JuanHidalgoMiniatures I think I just have some kind of mental block and just can't figure out the basic process of identifying highlight placement haha. I will give the Lahmian medium a shot. My only fear is that using too much of it over many coats will cause a thick layer. I know this won't happen with water as it just evapourates. I have a lot of testing to do! Cheers : D
I never had any problem with Lahmian either, when I want to be sure my glazes are buttery smooth that's what I use, place a drop or two into my wet palette and dip my brush in it when I want to thin my paint down. I got that trick of using Lahmian from Dave Colwell, it's exclusively what he uses to thin his paint
Awesome video! But I have a question: You seem to apply alot of the very thinned paint, especially when you applied the first highlights. Does that mean if I thin my paint enough I can apply a "thicker" coat of it without worrying that it will mess up the details?
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Thats actually amazing love the explanation on the light sources, probably the best NMM vid Ive seen
Thanks! I thought people would appreciate it
I've probably commented on this video before but I don't care. This video helped me so much in understanding how to do this technique. Explaining which way to pull the paint and how between blends was an absolute game changer for me. Using two different colours really helps sell the look and using the final highest highlight all over to tie it all together really ups the piece. I'm still a brand new painter I've painted a total of 11 minis, but i really love this look and so I wanted to learn how to do it. I'd watched a fair few videos trying to teach people, but none landed like yours. You explained everything from brush techniques & control to paint consistency & more. You're a great teacher and are highly entertaining. I also learned the chain sculpting from you which did the exact same things for me. Now I'm still not great at NMM but I understand it now and every model that I've painted has been better than the last, and I've made each of them unique with chains and chain mail.
SO THANK YOU JUAN!
You're a legend!
I don't have the right to ask for anything but because I don't think you'll see this I'm going to be cheeky and ask. 😅
I'd love to learn some more little sculpting or fabricating techniques from you, to personalise my pieces.
Again thank you good sir!
I feel like this was magic watching the highlights just come to life, in the end it looked like the mini was breathing it looked alive!!
Thanks!!! I'm very proud of this video and mini, glad you liked it too.
😊
This is my all time favourite painting video
It's one of my favourites as well
Thanks
The four lights illustration was extremely helpful in understanding how this style of NMM is painted. Also appreciated the value map that you showed. I wish more tutorials would demonstrate where the highlights and shadows are more precisely placed!
Thanks mate. I wanted to do the best guide possible
My favorite game since I first played it (2017)
You have great taste
Congratulations!!!. It is the best video I have seen explaining the lights on armor. I've seen the light, I'm going to start painting blue armor right now ;-). Thank you!!!!!
Happy to help mate! Thanks for watching 😘
I think this is your best NMM video yet - because you not only handle the blue metal, but also steel and gold. Bravo!
Thanks! I wanted to do a full video for him and not just the blue NMM Tutorial
Even after that first layer, I can see the end goal and have learned something and gained inspiration for how I might paint blue armor.
Thanks 😘
Un nmm absolument magnifique ! Merci pour ce tuto clair, net et abordable ! 🙏👌 Un soutien de France.
Merci beaucoup! 😘
What an absolutely incredible model.
Great work dude, looking forwards to the next one!
Thanks mate
Showing how to do NMM in a standard color, rather than a metallic one makes me more confident about wanting to try this technique for the first time. I'm guessing you could try this will all colors, or if done right, advanced painters could possibly achieve 2-tone or tri-tone metallics. Love your work as always
Thanks mate, I have plans to tackle almost every colour of NMM in the future so stay tuned
@@JuanHidalgoMiniatures Hell yeah mate! Love to see NMM orange. Your tutorials on NMM are the best on UA-cam, you explain it so damn well that anyone can achieve it. Be interesting if you did those 2-tone metallics as suggested above.
I can’t stop looking at your blue NMM. Fantastic job!!! 😍😍😍
Thanks mate 😘
Great !! Somebody finally explains how he sets the highlights on a mini ! Great work like always !!!
Happy to help mate
EPIC start. What an incredible intro. So good. Then it goes on to hypnotize you, great soundtrack for the background. What an amazing thing to see happen . This has helped me immensely. Thank you for showing this process in such detail. Masterfully done.
Thanks mate!! You have to hook them in the first few seconds!
This is a fantastic NMM tutorial, and one of the most relaxing videos I ever watched. Thank you for the detailed step by step, it is very educational.
Thank you for watching mate 😘
@@JuanHidalgoMiniatures Loving your channel!
Was wondering, do you have any videos about how you set up your camera to film your work? When I try to get that close, I usually end up filming the table XD
No, I haven't and don't plan to do it. But if you feel curious I used a Sony HX300 for a very long time (including this video) and I loved it. A cheap and rugged workhorse.
Now I use a Canon M50 with a 18-150mm lens and it's an absolute delight. Usually for 28mm minis I have it zoomed to about 70 mm.
Both cameras were hanging from a good quality microphone articulated boom arm anchored to my desk.
Hope that helps.
@@JuanHidalgoMiniatures It does thanks! The mic boom arm should do the trick :)
Make sure it's a good one. I use a Rode boom arm
For a man that doesn't like blue, you sure do have a lot of it.
Lol, I know mate. I think I really hate myself
You're living proof of the quality and versatility that citadel paints are capable of!
Thanks! They are my favourite brand
C'est un des pus beaux NMM que j'ai vu ! Bravo ! La vidéo est claire et précise.
Merci beaucoup!! 😊
BRILLIANT!!! Juan Hidalgo is AMAZING!!💥💥💥💥💥💥
Thanks 😘
Amazing! Glad you survived the blue :)
Lol, I'm developing an immunity!
JuanHidalgo Miniatures :D
Oooooooh it was you the one who made that incredible painting on reddit!!!
Yes! I'm absolutely EVERYWHERE
Thanks for watching mate
I saw this on Reddit...absolutely stunning work and an excellent tutorial as well...subbed.
Thanks for watching mate! 😘
Another amazing video from my now favourite painter :) I learned so much from this video that others didn't tell or show! Thank you!
Thanks mate, I always try to make my videos as clear and complete as possible while also being simple and short
Not a fan of NMM but always appreciate the skill it takes to create and deliver. Thanks for the superb video, as always.
Thanks mate! Thanks for watching
Brilliant mate thanks for this video , deffo my go to channel while painting
Thanks mate, I really appreciate it
Thanks! It is a beautiful paint job and I really enjoyed watching the contrast levels develop. : )
Thanks for watching! Glad you enjoyed it
Its great to see how much your NMM has improved. Good shit, mate.
Thanks mate! I'm really confident with my NMM now
Excellent work. It is very inspiring to paint with the same technique.
Thanks!
I just started miniature painting again after 9 years and I would love to give this a go, thanks for the video.
Do it! It's Very good fun and a great exercise for practicing brush control
@@JuanHidalgoMiniatures I am, I bought some really crappy plastic minis from amazon for $20 to practice on :)
Nice!
Awesome painting job and one of the best nmm I’ve ever seen!
Thanks mate
Ya no solo que cada vez nos sorprendes con mejores trabajos, sino con videos aún más entretenidos, instructivos y currados. Muchas gracias.
Gracias de verdad! Es lo que intento, entretenimiento con contenido educativo de calidad
You've totally inspired me to try the nmm gold on the shoulders!! Thank you so much!
Happy to help mate! PAINT BRAVELY! 💪
@@JuanHidalgoMiniatures I think that's the key! Be brave. I'm always a really unsure what colours too use and things so really appreciate these videos.
I tried your gold...I may have ott with the ushabti bone but like you say practice practice practice!!
You can always do an in between step mixing Zamesi and Ushabti if you dont have as much control of glazes yet.
But yeah, just keep painting and keep pushing yourself
Thank you , for the upload , for the content , and for introducing me to Shovel Knight .
Thanks! I really hope you play the game, it's pure 2D gold
@@JuanHidalgoMiniatures Thank you for the suggestion , I think I will be passing on this one though .
This was an absolute thing of beauty to watch! Incredible video, thanks.
Thank you for watching!
So, it's not that you hate blue, just Ultramarines. Understandable.
Excellent video as always!
Thanks mate!
Pedazo de tutorial! La intro de diez xD. Intentaré practicar tu método de blending con veladuras, me ha parecido genial la explicación
Gracias!! Me alegro de verdad que te haya gustado. Intentalo a ver qué resultado te da. Para mí es lo que mejor funciona
Very, very impressive. I'm a newcomer to painting and your videos have been a great help. I would love to see you paint some Infinity minis!
Thanks! All my schedule is already taken for the near future, but once I'm done i will consider it
Excellent explanations! It's all so simple now.
I'm glad I could help you!
Simply amazing, man! Great work!
Thanks mate
Another informative video, well sorted out in every technique!
Thanks mate!
Many many thanks :) just started painting and it's priceless to see how it's done by the guys who know what they do ! though, as i can barely correctly basecoat, the journey will be long ^^
As long as you try to improve a bit with each mini, you will get there and remember
PAINT BRAVELY
I learned a lot from this, thank you!
Thank you for watching!!
Amazing...your work is out of this world! Thanks so much!
Thank you for watching!
Bravissimo. Now I will break my head trying to paint ted NMM…;)
If you want red I also have a video about it
Beautiful !
Thanks
Excelente trabajo Juan!! La intro muy chula y la mini te ha quedado brutal, el enfoque de como pintar el maldito(porque a mí no me sale) Nmm ha estado genial.
Gracias!!!
At last, NMM that doesn't look like a low-budget saturday morning cartoon. You understand how metal actually reflects light. I might actually start using these techniques now.
Thanks mate!! I really appreciate it.
The amp dial names cracked me up. And the model is pretty good too ;)
Thanks mate! I have too much fun making those silly details
You made it sound very easy. Good job
Thanks! I take good pride in the work I do make each video as simple and repeatable as possible.
@@JuanHidalgoMiniatures i think I'm going to swap the colours and use it for Emperor's Children. If I ever get to learn the 9th edition
Oh yeah, what a great idea
@@JuanHidalgoMiniatures so yeah, I tried following the principles and it's not that bad. The transitions need some work, but it can be done. Well explained
Thanks again
Your skill blows me away. You have inspired me to get back into painting. I am glad I stumbled onto your videos the other week. You have gained a new subscriber. One question I have is how do you make your glazes? Thanks for all you do.
I just add water to paint, but you can add Lahmian Medium instead of you find water difficult to work with
WOW this is absolutely amazing.
Thanks 😊
Juan! Confiesa de una vez que dices que odias el azul, para ocultar que lo amas en secreto...!!! 🤣
Sobre la miniatura, pues que puedo decir... haces un excelente trabajo y este tutorial es de lo mejor que ví para entenderle al MNM, y si crees que ver a Latham perfilando es poesía, pues verte a ti hacerlo es música instrumental, saludos Capo!!!
Gracias guapo! 😘
Amazing just amazing, thank you for sharing!
Thanks for watching!
You're a damn GENIUS man!
Thanks mate!!
Beautiful work, so blue too!!! 😅
Thanks mate
I use army painter paints and I struggle with matching hues with what people are using for citadel colors.
Cannot help you there sorry, I own a total of zero Army Painter paints
Смотрится офигенно! Отличная покраска, спасибо!
Dig I’m because Im digging this vibe
I think you just made mini painting history.
AT LAST!!
I wish that I could afford to throw down on Patreon, but the unpaid work that inspired me to get back into miniatures and active gaming after a couple of decades off (as a disciplined relaxation to keep me from going too nuts) is demanding all of my resources above survival levels.
I can honestly say that this is the best demonstration that I have seen of the NMM so far, and the presentation of the material is simply friendly (a quality I have noticed with many of these videos) but also incredibly clear without assumptions about the viewer having seen other videos in the series.
That is important.
Since I am trying to make this comment worthwhile I will offer criticism concerning something that fortunately can be altered, rather than just praise:
The inconsistent audio quality sucks donkey b*lls.
lt is clear that it is a single source of audio reception that is optimized for when leaning into the work area, but it drops several dB whenever the words are not directed to the space right in front of the microphone.
There are several ways that this could be rectified so that it is not necessary to actively control the volume to counter the volume changes in order just to hear what is said.
- You could limit your speech to when you are facing directly towards the microphone. This would suck.
- You could invest in a different microphone that is less unidirectional and use audio reflectors. Working that out shouldn't be too difficult if you are capable of modelling sound in your head in the same way as you do light (although if you started getting into the cymatics of sound it could occupy you for some time at the expense of painting, time is the down side of learning most things).
- Headset with mouthpiece, like a gamer.
- Get a second microphone to be placed ideally for where your head faced is when you are mixing paints, so that you have two parallel tracks of the same recording. You can blend the two channels into mono, you can use both as is so that the volume balances out between the two (with a doubtlessly trippy back and forth stereo pan), or you could use a stereo mixer and cross fader on a board to have the clearest channel of the two be the main.
There are obviously other options depending on financial resources and skill sets of your production crew, etc, but it would be nice to be able to hear what sounds like good advice spoken just a bit too far away to catch.
Thanks mate, I really appreciate the feedback.
My main problem is that my production crew is just myself 😂, I recordel alone, I edit everything and I obviously do the painting and I'm limited by my equipment. That is the camera microphone, that's all I use and I'm very aware of its limitations. I also had to learn everything by myself too so my knowledge is limited too but I'm learning something new each day.
Sadly the camera I use and own doesn't admit a plug in microphone and I am looking at recording the audio as a separate source but as I said, it's still a work in progress.
Thanks for watching mate, and again, thanks for your feedback.
@@JuanHidalgoMiniatures Just because I do like your style and would like to see AND hear more I'm going to offer a couple of ideas that you could try or not at your own discretion using your much more detailed knowledge of your circumstances to decide.
I enjoy writing anyhow, so you don't have to feel like I am put out by it (no pressure) and even if I didn't watch any of your later work myself I have a simplistic philosophy that if the world that I live in gets better for someone without it getting worse for someone else, I then live in a better world. It's a very selfish attitude, I know, but there it is.
Assuming that you are on the same kind of budget I normally am (almost none) there are a couple of things that I've managed to pull together that might be useful to consider:
I've been doing spoken word rants and absurdist humour for a while and am just beginning to get over shyness about putting them online for people to ignore in their masses rather than just my friends, so my non-audience is growing by leaps and bounds.
The sound quality has improved though, since I bought a second hand Sony voice recorder for about $15 off of craigslist, and got a uni-directional mike on sale at a local Shopper's Drug Mart.
The Sony has a few settings for information rate, but even at the highest quality I could still record a couple of hours non-stop without using a memory card; plus it has settings for voice/music and three levels for sensitivity.
I went through and recorded the same basic sounds on each until I figured out which sounded best for what use.
My mic comes with the normal foam cover on the end, plus what I call a "sound tribble", a furry cover that goes over the foam like a fuzzy condom that keeps plosives (Puh!) from popping in the same way as a spit screen does with traditional microphones.
With something along those lines, you could experiment with having a mic set up with a sound reflecting surface(s) or cone using different settings and directed right in the middle of where the two facings that you use would be.
You could also have your paint pots, etc positioned so that you don't have to turn your head so much.
Depending on what the software is that you use, if you used a program like Audacity to record the sound, tweek it, and transfer it to any one of several file types it should be not too difficult to drop it right onto the video.
A key thing I've learned with that sort of thing is to only learn the most basic functions, and slowly play with other ones over time, for me it's noise reduction, compression, equalization (a boost for the bass and a boost of treble make the human voice a bit more full) and normalization.
The rest is cut and paste.
Because you seem to work with an alternation of speaking and just painting, you would have a lot of leeway for correcting sound bites so long as you matched the timing fairly well, and could slip the corrected bits into the video without it being a jarring contrast if some sound was a bit different, etc.
I'm still working at learning video, but one resource that is universally awesome is any sort of articulated stands and clip type functions to act as a lighting or sound boom similar to the "helping hands" used by solderers, etc, made in various scales.
They're just plain handy.
There is also an infinite number of uses for mirrors (to move light around for illumination off screen, or even to set to show something that won't fit in the workspace right in front of you)
The thing that I've been finding helps the most is a working concept I call "ghetto tech", which is:
"See something that is great, but is too pricey. Ignore the item itself, but look at what it does and how it does it. Determine how to build it or duplicate the function using stuff from online classifieds, found in alleys, or just lying around the house. Test it, if it works then refine it as much as possible until upgrades are an option (if they are even needed).
Kind of like basing minis with stuff from a jar of "neat things".
It's fun.
(depending on how long it takes you for instance to put in the text describing the specific paints that you are using, it might be worthwhile making up re-usable cards printed with the names that you plan on using in any given session, that you could place on the surface in front of you when you paint?)
Again, I don't know if any of this is useful to you or not, I just hope that it doesn't sound condescending or whatever. I have no way of knowing what any other human being knows.
(I'll probably be checking out more of your work, it was actually quite inspiring watching Shovel Knight)
Thanks again for the feedback, I will check those things out
This guy is too good.
I know! He is AMAZING
Amazing work!
Thanks
Simplemente espectacular...👏👏👏.
Mil Gracias!
What are you doing to acrylic paint to make it into glaze?
Add water
Very awesome!! I need to know where that Miniature is from. Please give me some information on how to get that mini.
It's a conversion using a Stromcast Liberator and a sculpted head and shovel
How did you smoothen the highlights out with teclis blue? Did you just keep glazing in one direction until it came out nice? Also, what is the purpose of painting kantor blue glaze in the opp direction of the teclis blue?
Yes, that's what I did and the Kantor is to smooth it out even more
Best intro yet
Thanks!
how is the shovel made? specifically the spade part
It's a piece of bent copper sheet.
@@JuanHidalgoMiniatures ok. I was thinking of cutting a piece of plasticard and heating it to bend it
Yeah, that can work too. I'm just a goldsmith so working with metal is easy and comfortable for me
That has earned an instant subscribe dude
Thanks! Stay tuned because Shield Knight and thus Red NMM is coming very soon
Ooh,I can’t wait.ive got a 30k Ahriman I want to do like that😃
What ratio of lahmian medium to paint did you use for the glazes? For example, maybe 1:6, baharoth blue to lahmian medium?
No ratios sorry, each paint from each manufacturer is different and even if I gave you a number my paints were pre-thinned when I transferred them to droppers so that number would be useless for you.
You need to learn to make those by feel, that's why I show the consistency on my thumb, match that.
Okay sounds good. Thanks for the incredible tutorial! I hope to make my army of chaos warriors have a similar purple nmm look!
Thank you for watching 😘
Bravo et merci pour cette vidéo!
Merci beaucoup
Do you have a tutorial on the conversion process too?! This is fantastic!
No sorry. It's just a Liberator with an sculpted head and Shovel
Were can I find the miniature or did you make it?
It's a conversion using a Stormcast Liberator and a sculpted head and shovel
I'm trying to understand that white dot technique. Is there a name for that? I'm also surprised it's pure white.
Yes If I say white, it's pure white and they are literally just that dots of white.
Where can i find this miniature? Is incredible
It's a conversion. Basically a Stromcast Liberator with a sculpted Head and Shovel
Really good implementation of classic texture expression and reflections. The colors for highlights and shadows are chosen very well also (worth a tutorial all on its own) I love it! Only thing that might improve it, could be making the front ‘loincloth’ a more contrasting color. Red or yellow for warmth? Or purple for more subtle, or orange for very hard contrast?
Thanks! The loincloth has to be blue, that's the colour Shovel Knight is.
I learned a lot from this video, thank you!! I wanted to support and buy some brushes via your link. But i was wondering which size is the right one for this technic an for contrasts? :)
Right now (and on that video) I use Rosemary and co series 33 size 3 and co, but they don't have Affiliate links (yet) but if you wish to buy Raphaels, my recommendation are, size 0, 1 and 2
@@JuanHidalgoMiniatures Awesome! Will do, thanks a lot! :)
Happy to help 😘
This is dope
Thanks
Awesome!
Thanks
Que buena intro, muy chula. Eres un maquina
Gracias!! Intento avanzas con mi edición lo máximo posible
Love it!
Thanks
That was an amazing tutorial! Thank you
I do have a question though. How would you paint a miniature like this, but also accounting the environment? From my understanding, the armor is reflecting the light. So if the ground is green, would you paint a green glaze in the shadow?
Well, thats not really true with coloured metal. If you see anodised aluminium I doesn't really catch environmental colours at all. Same goes for gold, everything gets tinted yellow when reflected in gold.
But if you want to do it, I've done it for steel, you need to glaze the colour you want on the parts that would reflect that colour.
@@JuanHidalgoMiniatures Thank you so much for the advice! Your tips and tricks are simply amazing, and my understanding grows ever more!
I love your videos and I have a question when you thin down your paints are you just using water or are you using mediums like lahmian medium or contrast medium?
If I don't say anything or its clearly stated in the graphics, then I'm just using water
Thank you for clarifying
Happy to help
What brush are you using here?
Rosemary and co series 33 size 3 and 4
@@JuanHidalgoMiniatures Amazing, thanks. I've been using WN but they're never quite as long as I want & I find the raphael's split really easily.
No one can beat Rosemary and Co Series 33 in terms of quality for the price. They are just amazing
Stunning and very good explanation. Might I ask what kind of brush you are using for this model?
Rosemary and Co Series 33 size 3 for the whole video
buenisimo como siempre
Gracias
Anyone know where this mini came from?
Its in the description. The body is a Stormcast Liberator and the head and Shovel are Sculpted from Greenstuff
que pedazo de edicion de video!
Gracias guapo 😘
Maravilloso
Gracias!
This is awesome. I've been trying NMM for a while now (with gold) and this makes things a lot more clearer. BUT, i have to ask, on the gold shoulder parts, why did you have he highlights in the lower areas (the corners) and the shadows on the raised areas? I would have thought it would be the other way round? Is that personal choice or is there a practical reason behind it?
It doesn't really matter as long as the pattern and contrast is correct.
Glad the video helped you!
@@JuanHidalgoMiniatures thanks for the reply. i had to ask as it looked right but was against how i understand shadow and highlight to be so it was throwing me off. haha.
With NMM you can break the rules as long as you are consistent with it, apply enough contrast and place your reflections in the correct spots.
How on earth do you A) get such clean glazes? Mine are patchy and coffee stain to hell and back! B) figure out exactly where to place highlights? I struggle so badly with this!
I explain how to place the highlights in the video, as for the glazes, if you are getting coffee stains, its due to probably having too much paint in the brush, try to unload it in a paper towel before applying it but if you are still having trouble, thin your paint using Lahmian Medium instead of water, it will eliminate the coffee staining and the patchiness.
Also remember that the directionality of the brushtroke is extremely important
@@JuanHidalgoMiniatures I think I just have some kind of mental block and just can't figure out the basic process of identifying highlight placement haha. I will give the Lahmian medium a shot. My only fear is that using too much of it over many coats will cause a thick layer. I know this won't happen with water as it just evapourates. I have a lot of testing to do! Cheers : D
I never had any problem with Lahmian either, when I want to be sure my glazes are buttery smooth that's what I use, place a drop or two into my wet palette and dip my brush in it when I want to thin my paint down.
I got that trick of using Lahmian from Dave Colwell, it's exclusively what he uses to thin his paint
Grandísimo trabajo y tutorial, ¿Que pincel usas?
Tienes una lista de los productos que uso en el primer comentario del vídeo. Son Raphael 8404
Y gracias por cierto! 😁
@@JuanHidalgoMiniatures disculpame no lo había visto, muchas gracias 😄
Gracias a ti!!
Fantastic job! Love all your videos. I’m waiting for you to do black legion or emperors children before I start painting 😂.
Working on them!
🙌🙌🙌🙌
Imagine what you would have done if you liked blue...
I think you did us a favor by not making the earth exploding! ;)
😘
Your work is so beautiful.. How many hours did you spend in this little guy to do the armor ? Keep going, your videos are very relaxing to watch !
Thanks, and I don't know, I never time myself and I don't care about time so I never remember.
where did you get the model?
It's just a Stormcast Liberator with custom head and weapon
@@JuanHidalgoMiniatures how did you make the custom head and weapon? :)
Sculpted them from Greenstuff mainly
Awesome video! But I have a question: You seem to apply alot of the very thinned paint, especially when you applied the first highlights. Does that mean if I thin my paint enough I can apply a "thicker" coat of it without worrying that it will mess up the details?
Yes, basically it means that. You still don't want to let it gather too much in the crevices and around detail
awsome
Thanks mate