**JUMP INTO THE HAY - Lazy Nezumi Pro — Transcript & Summary | SozAI** Source: https://sozai.app/transcript/jump-into-hay-lazy-nezumi-pro/ Borodante explores Lazy Nezumi Pro, focusing on its perspective tools for digital drawing and creating a cityscape inspired by Assassin's Creed. ## Key Takeaways - Lazy Nezumi Pro smooths digital strokes and enhances precision in drawing. - Its perspective tool with three vanishing points helps create accurate 3D scenes. - The program works independently and can overlay on any drawing software. - Guidelines improve composition and perspective understanding but can be toggled off for flexibility. - Despite some limitations, the tool simplifies complex perspective drawing tasks. ## What the video covers - Introduction to Lazy Nezumi Pro as a tool for smoothing digital strokes. - Demonstration of the stroke smoothing feature and its primary use for precise illustrations. - Highlighting the unique perspective tool in Lazy Nezumi Pro, which acts like a digital ruler for perspective drawing. - Explanation of the three vanishing points feature, including a hidden vertical tilt vanishing point. - Using the tool to create a cityscape inspired by an Assassin's Creed scene with a character jumping into hay. - Discussion on setting up the perspective, field of view, and composition challenges. - Building the scene with basic shapes, guidelines, and adjusting the placement of elements like buildings and the haystack. - Advantages of visible guidelines and the ability to toggle them on or off for creative freedom. - Reflections on the tool’s limitations, such as zooming issues, but overall usefulness for maintaining perspective. - Final thoughts recommending Lazy Nezumi Pro as a helpful digital ruler for artists. ## Chapters 1. 00:00 Introduction and Stroke Smoothing Demo 2. 01:27 Perspective Tool Overview and Photoshop Integration 3. 02:29 Exploring Three Vanishing Points and One-Point Perspective 4. 03:37 Setting Up Perspective Parameters and Field of View 5. 04:52 Building the Cityscape with Basic Shapes 6. 05:58 Adding Details and Using Guidelines 7. 07:04 Challenges with Zoom and Perspective Maintenance 8. 08:47 Final Adjustments and Reflections on Lazy Nezumi Pro 9. 14:25 Conclusion and Recommendations Answers ## Questions about this video What is Lazy Nezumi Pro primarily used for? Lazy Nezumi Pro is primarily used to smooth digital strokes for precise and accurate illustrations, especially useful in digital painting and drawing. How does the perspective tool in Lazy Nezumi Pro work? The perspective tool acts like a digital ruler with three vanishing points, including a hidden vertical tilt point, allowing artists to draw accurate 3D scenes in any program. Can Lazy Nezumi Pro be used with other drawing software? Yes, Lazy Nezumi Pro runs as a separate window and overlays on any drawing software, making its stroke smoothing and perspective tools widely compatible. ## Full Transcript — Download SRT & Markdown 00:00 Speaker A [Music] Hi friends, my name is Borodante, and welcome to Jackass. Let's check out Laz the Zumi Pro. So Laz the Zumi is a program that is initially created to make strokes super smooth. I'll demonstrate. Like initially, you paint like this or draw like this. 00:27 Speaker A Right, everything is precise and sharp, and if we turn on the Lazumi, everything will be super smooth. Kind of cool for creating accurate illustrations of some sort, maybe for painting anime. So it's really well done. This is like what Lazumi was made for initially. 00:50 Speaker A And the very best part of Lazumi is that this is not part of Photoshop or any other program. This is a separate tiny window, so basically you can smooth your strokes in any program. But I'm not using it for this. I don't find this feature very interesting, the smoothing thing. 01:06 Speaker A What's really cool is that Lazy Lazumi Pro has a perspective tool, which is really cool. So it's like a ruler that allows you to draw in perspective. Some programs have it internally. I saw that in Corel Painter and Autodesk SketchBook Pro. 01:27 Speaker A So you see how the lines that are like the guidelines of the thing that are following the cursor, they're overlapping the interface of Photoshop even because they're like they don't give a [ \_\_ ] thug life. 01:43 Speaker A Now let's actually try it in action. I wanted to draw some kind of view on a city, and I came up with an idea. Let's draw the scene from Assassin's Creed when the dude is jumping down into the pile of hay. That would be cool. 01:57 Speaker A Well, we'll mostly pay attention to the buildings and stuff, so let's try it out now. I initially thought that this program has just two points of perspective to work with, like the one in here on the horizon, vanishing point one, and then vanishing point two. 02:14 Speaker A But that's not the case. There's a hidden third vanishing point, and it's just defined by the vertical tilt. So we can kind of like rotate the camera downwards and look at the bottom, and that's the third vanishing point right there. 02:29 Speaker A So if we go all the way downwards like this, we'll see this is the third point, and if we push it all the way down to 90°, it turns out to be a one-point perspective. So we have just vertical and horizontal lines, and then we are going for the vanishing point as well. 02:49 Speaker A But anyway, this is a good way to draw the scenery when we're looking downwards, the way the Assassin's Creed thing is going on. So there's the vanishing point that we actually see, and then, so it's a good idea to check what kind of perspective we have with this setting. 03:05 Speaker A So it's kind of like this, a bit weird. Like the vanishing point is cool, but the vertical and horizontal are a bit weird. Okay, this requires some thinking. So I want this top thing that he's jumping off to be somewhere around here like this, and it will be going down, and there will be the rest of the building in here. 03:20 Speaker A There is a whole bunch of different buildings around. There's some kind of a wooden plank sticking in front. Going to have to find some references, of course. Okay, so let's try and find the angle for this setup. Yes, this seems about right. 03:37 Speaker A All right, well, this took a while. There are quite a few parameters you have to think about, like three vanishing points plus the field of view. Okay, so we have this, and it would work this way. Seems legit. 03:51 Speaker A Okay, let's try and make something real out of this. So I'm thinking something like this but more buildings. So it's going to be kind of higher, like here. I guess this will be the reference for the buildings, and this one is for the character. Let's finally do this. 04:09 Speaker A So the building is going to end here, some kind of street at the [Music] bottom. So there will be this wooden thing that he was standing on or sitting on, and there will be the rest of the building as well. I don't know what kind of a building this is, but it's going to have some kind of interesting structure. 04:27 Speaker A It's really cool that in Lazumi you always see the guidelines because it really helps to figure out where things continue following the geometry. Like right now, I'm looking at the green line and trying to figure out where to make this line because it's going to have to be aligned to this. 04:52 Speaker A So there's that. The tower that he's jumping off is always the biggest building, the tallest building in the neighborhood, so everything else is supposed to be not as tall. So let's start with basic boxes to figure out what goes where. 05:07 Speaker A It's so weird. Like I'm using these guidelines, and right now I just realized that if I wouldn't use them, all the lines would go in such different ways. I don't know if it's good or bad. Like I'm not sure if I chose the perfect perspective at this point because this is something to figure out as well, like where to actually put those vanishing points to make things work well for the composition and stuff. 05:23 Speaker A So the hay thing will be in here. It doesn't have to be at the vanishing point, which is something I've just [Music] realized, kind of like that. And there's the hay in there. This is kind of cool. It's a lot easier to think on composition when you don't have to think about everything else, but don't worry, I'll [ \_\_ ] it up. 05:40 Speaker A Okay, talk about the [ \_\_ ] up. Uh, one thing I just realized: I don't know where to put the character now. So maybe it's a good idea to move the hay a bit further, like here, although it would be too far away from the building. That's like a very giant distance that wouldn't make sense. Some kind of boxes or something around here as well, and this is like a pool with a fountain kind of like this one but with a fountain. Some sort of windows going to take place around here. I don't know what this is, but it's just for the complexity. 05:58 Speaker A A lot of the buildings in the game have these corners that have like extra face, so that would be a good idea to do that. [Music] Kind of like that. It's really cool that you can easily turn off the guidelines and everything easily with the hotkey, so at any point I can stop following the guidelines and draw something that goes in any [Music] direction. 06:16 Speaker A So there's a lot of people around usually in the game, so let's do some spots. These are people apparently trying to follow the scale of this door and also should follow the perspective in here as [Music] well. Some extra structures around to make things look more alive. [Music] Some barrels and [Music] such, some extra things for the Assassin to grab on. Every building in the game is like the parkour setup. 06:34 Speaker A Okay, let's add the dude. So I assume he's going to be like already falling [Music] down. Okay, I feel like I want to move the hay thing a bit further, a little bit like this. Seems weird. Yeah, it doesn't feel like he actually jumped off this thing. What we need to do is to keep him here but move the platform further away. That's not to have to fix absolutely everything. 06:47 Speaker A Yeah, actually I had this giant thing sticking out before the wooden thing. There's no necessity in it. Feels like if you don't know the game, you'd think this is suicide scene kind of like this. Well, this was pretty cool. I kind of like the Lazumi thing. I'm usually against using anything that would restrict you and like do the job for you, but in this case, it's more of allowing you to use a digital ruler when there is no actual ruler or something like that. 07:04 Speaker A I don't know, it's really hard to maintain the vanishing point understanding when you zoom in and all, something like that, even though you can't zoom in with Lazumi as well because you see it's still here, it's green space, so it's not going to work when you zoom in. But still, I feel like this is something that's doing a very basic work that's making my work easier, so I think this is a really cool thing to use. 07:18 Speaker A Well, I don't know. Let's drop some spots just to define basic colors, but I don't think I'm going to actually do the final result because we're more of checking out Lazumi today than painting. 07:39 Speaker A Okay, let's think about the light. I think shadow line should go like here, so the light is hitting from that point, like there. That's where the shadows go. Let's fill in with the basic color first, just defining the light everywhere to make it clear where... 08:05 Speaker A trying to follow the scale of this door and also should follow the perspective in here as [Music] well some extra structures around to make things look more alive [Music] some barrels and [Music] such some extra things for the Assassin 08:47 Speaker A to grab on every building in the game is like the parkour setup okay let's add the dude so I assume he's going to be like already falling [Music] down okay I feel like I want to move the hay thing a bit further a little bit 09:11 Speaker A like this seems weird yeah it doesn't feel like he actually jumped off this thing what we need to do is to keep him here but move the platform further away that's not to have to fix absolutely everything yeah 09:30 Speaker A actually I had this giant thing sticking out before the wooden thing there's no necessity in it feels like if you don't know the game you'd think this is suicide scene kind of like this well this was pretty cool I 09:50 Speaker A kind of like the Nomi thing I'm usually against using like anything that would restrict you and like do the job for you but in this casee it's more of um allowing you to use digital ruler when there is no actual ruler or something 10:09 Speaker A like that I don't know it's really hard to maintain uh the uh vanishing point understanding when you zoom in and all something like that even though you can't zoom in with Naomi as well because you see it's still here it's green space 10:27 Speaker A so it's not going to work when you zoom in but still I feel like this is something that's um doing a very basic work that's making my work easier so I think this is a really cool thing to use 10:41 Speaker A well I don't know let's drop some spots just to Define basic colors but I don't think I'm going to actually do the final result cuz we're more of a checking out in isumi today than painting okay let's think about the light I think Shadow 10:57 Speaker A line should go like here so the light is hitting from that point like there that's where the Shadows go let's fill in with the basic color first just defying uh the light everywhere to make it clear where buildings end where we don't see them 11:18 Speaker A sort of like right here there's a sunlight that means that this main building is quite short and there is light coming from the back of it so this thing is taller so it will catch the sunlight earlier than the 11:41 Speaker A ground and we'll also drop a shadow in here this is looking cool like uh sunlight brings the atmosphere right away decided to continue this sunlight a bit more so there would be a tiny line of light like here kind of cool okay 12:01 Speaker A there will be sunlight in there as well and this thing presumably doesn't have anything covering it from the [Music] sunlight o and the dude will be only partially in the sunlight which is kind of cool okay let's do some dark areas 12:24 Speaker A just to define a bit more details and call it done for now [Music] armpits Shadows well something like that like it's not correct cuz it's not detailed but who [Music] cares this is what water looks like apparently okay some um Global ambient 12:58 Speaker A occlusion from the buildings like [Music] this now let's add some atmospheric effect from this sunlight like this but we will erase it where the character is because he's closer so that will create a really cool air perspective [Music] 13:27 Speaker A effect okay let's add some sh Shadows from the guys and small details as [Music] well let's bring in some details like the bright details with the brighter color but not the warm color cuz this is not the [Music] 13:54 Speaker A sunlight well there we go yeah I think this is it I'm not sure if I'm going to finish it ever but this was a pretty cool test for isumi I kind of loved it some final moment fixes of 14:10 Speaker A course well yeah anyway I think this is a really cool piece of software that will be a great addition to my software Arsenal which is a very good thing because I already bought it there was a Christmas sale so one might say I 14:25 Speaker A recommend uh lazy naumi great thing to use and also so I thank you for watching if you did I guess you did if you're here leave a like And subscribe tell a friend jump into the hay do whatever you 14:36 Speaker A want and I will see you in the next one bye [Music] Topics: Lazy Nezumi Pro digital art perspective drawing vanishing points Assassin's Creed cityscape illustration Borodante digital ruler stroke smoothing art software tools Study this video - [Flashcards from this video](https://sozai.app/tools/ai-flashcard-generator/?from=transcript&id=80702) - [Quiz on this video](https://sozai.app/tools/quiz-generator/?from=transcript&id=80702) Free, made by AI from this transcript. 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