Blender 3D - Creating photorealistic materials | Joe Baily | Skillshare

Blender 3D - Creating photorealistic materials

Joe Baily

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10 Lessons (1h 48m)
    • 1. PBR Materials

      0:48
    • 2. Structure of the PBR

      7:30
    • 3. Fresnal PBR

      17:03
    • 4. Reflection PBR

      19:02
    • 5. Dieletric PBR

      17:47
    • 6. Upgraded Fresnal

      9:55
    • 7. Metal Color PBR

      14:19
    • 8. Metal PBR

      16:49
    • 9. Glass PBR

      8:28
    • 10. Less/More Slider PBR

      13:08

About This Class

Blender 3D - Creating photorealistic materials

Welcome to this class on how to create realistic materials in blender with the help of the cycles render engine. By default, the materials you have access too in blender do not possess the real world properties they require in order to be truly realistic. This class will teach you how to create your own shaders using the node group system in cycles that you can use to create those ultra realistic materials, we will be learning how to create shaders for dieletrics (non metals such as plastic), metal and glass PBR shaders. 

Transcripts

1. PBR Materials: Hello and welcome to this class on PBR materials. PBR stands for physical based rendering. This is where materials are created so that they react to light in the same way as their real world counterparts. For example, we're going to learn how to create glass in blender that actually works is classed us in the real world. This is vital to creating a realistic scene in Blender. On in the next few lectures, we got to be covering the basics off how we can create our own PBR textures. So let's get to it. 2. Structure of the PBR: Stoke. How are PBS is or physically based shade? Er's actually structured, well, a physical base. Shader is basically a node group designed to produce a desired effect. In this case, we're trying to create a material that respond to factors such as light sources in the same way that it would in the real world, it has nodes like any standard, no tree. But the big difference here is it has a group input on group output instead of a material help. So the material output in blender is used to finalize what the material actually is. But we're gonna be creating a group within that material, which is actually going to be a single node on inside. That node is going to be a Siri's or other nodes on the's are what we're going to use to actually create the physically accurate effects off our shader so we can connect note to the input output trees within our physically bay shade up to increased functionality off the shader itself. What this basically means is that when we create our group, we want to be able to do everything from the node group itself. We don't want to actually have to access to group to start moving about all different notes that we've already structured. We want to be able to see any difference functions straight away when we just look at the material itself. So what does this look like? Well, let's have a look. So I've opened up blender here and I've got an example of a PBR Shader. This is a PBR guy Electric shader on all it ease is a material output connected to this PBR Die Electric Node Group. This he is our PBR Shader. We can see it has its color A roughness value but reflection value an index of refraction Onda normal. It also has an output for the shader itself. Now you can't find this by default In blender, the closest you confined to this would be to go to add shader Andi diffuse on. That's the closest You'll probably come to a pure die electric Shader. The big difference between the two is the dialectic. Shader is a lot more accurate than the fuse when it comes to real world properties. For example, this Die Electric Shader has index refraction which is otherwise known as for now and it also has reflective values which all objects possess. But we can't determine those reflective values in a standard. The few Shada. So I'm just gonna delete that. And now we're just going to open up this node group here using this little icon at the top . So you just go into the shader itself. So I'm going to left Click on Whoa! That's a lot of stuff. Well, not really. But here we can actually see that we have a Siri's off nodes and these are what we used to actually creates the properties. So, for example, we actually have within the guy Electric Shader. We have a few shader. So this Defu Shader is the source off the color output that we see in the original guy electric box. The normal value here for the diffuse is also used to project Steve normal value in the dye electric box itself. But we also have things such as thes power nodes which aren't math nodes. Andi, they will be used to help calculate correct algorithms. What this means is basically, blender can sometimes be incorrect in how materials should respond. Therefore, we're going to need to make subtle changes to how blender calculate our materials, such as their roughness on their reflection, so that it is more accurate on the real world. You also know it's we have a reflection. PBR Now, this is an important point here you can on most of the time, should have PBR shade er's within PPR shade er's because here we have a reflection. PPR, which is for, was responsible for creating things for the dialectic shader that the few Shader itself does not possess. So this is responsible for creating the reflection value as well as the index off a fraction. So how much does the object reflects lights on it? How strong is the for now? And that's the main reason why the reflection PBR is here now. We can even go further in here to see what's inside a reflection, PBR where we can see we've got a couple of miksche aiders. We've got mix shader a mixology be node. We've actually now got a number. PBR here. This is our for now, PBR, which is going to be our starting point. And we've also got our glossy shader. So we've got the Finnell, which is going to allow us to determine the final effects, which we're going to explain in a future lecture on we've got our own glossy shader, which is going to be used to help determine the roughness. Andi. Eventually, the reflective values is well off our shader that across itself doesn't actually determine the reflection. As we can see, it's connected to the roughness value. So the glass is used for the roughness, whereas the friend Nell is used for the reflective effects, as we can see here. And in fact, if we just moved that up, we can see that the reflection is connected to the mix RGB So that makes RGB is then connected to do for now and then comes back here to the group input. Now, a lot of their sure things are that looks all really confusing. But don't worry, because we are going to be gone through this step by step. This is just an overview off what we can expect to see when we're creating our shades that this is going to be our target. This is the sort of thing that we're going to have by the end or this cross, and we're gonna have several off these types off shade er's So we're gonna have things like Ardai Electric are metal are Mr Tropic, but just panned out of you a bit. Andi hourglass shakers to name a few examples off the sort off PBR materials that you will be learning to create in this class. Thanks, guys on. I'll see you in the next lecture. 3. Fresnal PBR: I got as it's now time to create our first PBR Shader. So we got in speak Starting were probably the most important PPR shade oval And that is the Finnell Shader. So we're going to be creating this for NLP Br shaver on the reason why is because the nor for Nell node that we have in a blender is good. It works, but it does not take into accounts the objects roughness value, which is what it should be doing. So what we're going to be doing is we're gonna be solving this problem by adding insult notes so that when the roughness off the surface will increase, the Finnell effect is going to decrease. So let's go into blender on what we've got. We've got the very basic set up. So what we're gonna do 1st 4 is we're going to create our nodes that we recorder. So we're going to be dropping and changing back and forth so we can get a good view. So if you'll know is in the slide here, we've actually got the basically, either we're going to be using So the first thing we're gonna do is put in our for Nell note. So we're going to be doing our for no node. Let's do that. We're gonna go shift, and I I'm going inputs. And then we'll have the final note and now we'll just pop it on there. Now, what I recommend when testing out your materials is that you have the no Wrangler add on. Enabled said no Wrangler. Add on. We're gonna go to file user preference sees Then we're gonna go to add owns, pick the search bar and swiping node, and then you should have the node Wrangler option. Make sure it's ticks, save users settings on enclose user preferences. Now, what could no longer guys is. It does have a variety of things, But I'm just gonna assume in on our yearly sphere because this is gonna be our main objects for reference, especially with the final note. If we go shift control and click on a final note, it actually gives us a fewer notes that we can actually view what our Chanel is doing. So we zoom in a bit. We can see this is what it's doing to our objects. We've got a nice, dark background. We were also got it lighting up at the edges off the object. This is how the fun L node works on. If we increase the index of refraction, which is this value here, then in the middle of the objects will grow brighter and brighter and brighter. It would reverse that. Then the central grow darker and darker until we get to a value of around one. So we get to a value of one. This simulates a vacuum, and therefore we get absolutely no for Nell whatsoever. Of course, all physical objects have fernet for Nell because there know that cues. So no object should have an IRA off one that's basically saying it does not have Fornell. Also, objects really should not have an object. IR are below one. Now, if you do be a research on the Internet, you might find that certain metals such as gold and silver, are given on index of refraction value off under one points here. That's the effect of for now in Blender actually does something very weird. When you go below the value one we can see there's almost like a halo effect without for Nell on this is just unrealistic. This effect also takes place with, say, gold. So what would happen? He is, If you see we've got this dark Harry, he we have a negative IR value, or at least value under one. Then this dark area would be gold on this once area would basically be non college on. If you can imagine that on like a gold, all that just doesn't sound glory. And trust me, it doesn't look right. So my advice for now, let's keep the I R R to 1.451 point 45 and enter. This is going to be the standard for Die Electric Shade er's so any dialect materials will have an index of refraction off around 1.45 That's why it's the default. The big reason, though, why we're going to be changing this up is because it does not take into account on objects roughness. So we put that into the surface. For example. What I'm just going to do is I'm going to go shift and I and we're going to adds a mix. Shader put our shaded in and then just put out for now into the mix. Shader. Now my computer's acting a little bit slow at the moment, but basically you might be able to see it slightly. Way we've got that Fornell effect happening at top. But the idea he is the fact that before Nell doesn't have any direct effects with a roughness here in this situation. So we actually want there to be a connection. So now it's time to create the for Nell node. So we're going to be touched up. And just to speed up Mark Computer, I'm just gonna go back into solid view because that's slowing down while computer quite a bit. So now let's check what knows we require. So we require a mixed note, a bump node and geometry note. So let's bring these into what's seen. So we'll start with the mixed node, bump, note and geometry. So if we go back into Blender, we'll go shift I and then what we're gonna do is we're gonna go mix now. We go back very quickly to what it is because this can get bit confusing. This is a mixed RG be no, by the looks of it. So we've got factor Carla and Color to, so I actually think it's just in a warm mix. Shader. So basically there were several different types of mitt shade. Er's in a blender and you've got be making sure that you're using the correct from one. I've had this mistake quite a few times. So you caught mix Shader here. I'm just gonna go shift in D two duplicates and just bring it over here. So we've got that. And now we're gonna go shift I and we're going to at a bump. So a bump node is located under Fekter. I will bring in our bump node. Next, we're gonna go shift I and then we're going to go see inputs on geometry. So let's double check to see if we've got the correct stuff on. And actually a more still being Chris. I might have been right the first time, So let's have a look with that mix RGB node. So that looks a bit wrong there. So we go shift. I and I think we got color mix rgb yet That's the one we want. So again we got mitt shade and then a mixology be node. The problem here for me is that the mix RCB node is just with 30 was a mixed node. So that's why I often get it mixed up with the mix. Shader So gonna have that make shader here and we've got our bump node and I geometry note on that for no node. So just ignore the other notes for now, these are the four that we're focusing on. So what we're gonna do is we're going to begin putting these together. So for geometry, we actually want the incoming value. So we're gonna place the incoming value into our midst. Shader We're also going to place our bump shader into out mix shader up here. Then we're gonna connect the color with the for now. So let's have a look to see how we're doing here, Set, I'm just gonna go on and we can see Ah, so another thing to note here, Always referencing. So what I've done is I've put my mix rtb into the criminals. I'll are I don't wanna do that. I want to do the normals because that's why we've got the bump in. So we're going to have the bump Matt on the geometry to sort out the fun Els normals because this is the big issue the issue with the Finnell was No. It's inexplicable fraction because the index refraction is actually accurate. The issue with the Fornell no is the normal value. So we're going to go back into Blender if it will let me. There we go. I'm just gonna change that to the normal value. Now we're going to just put that into our mix. Shader Let's see if that is working the way I wanted to. So I'm going to change the color here to a nice yellowish color Andi yet So it might be difficult to see on your computer, especially since we're only using a diffuse at the moment. It's much more effective once we have the glossy shaded in. But basically that I believe, is working quite nicely. So now we go our bump, our geometry, our mix and are for now. So we have another look. We're now going to create a group. So to do that, we're gonna make sure a with ease are selected. So we're gonna go back into blender, make sure that all selected it's so gonna have one. Then shift, right click, right click, right Click Control and G. And now we've got that node group. So we've got no group here. This is gonna be our PBR Shader. We got our factor output on. We're going to start doing some inputs as well. So we're going to input The ill are into here. There we go. You can just see it lighting up at the top just slightly and we're just going to turn that off because again it's just slowing down a computer. Next, we're gonna use the normal value that's located here with the bump map. And we also have a look at our reference guide. Once again, we can see that we have the roughness values to the roughness value we can see here is gonna be the fact of value for the mixed RGB node. So we're gonna go back to Blender and we're gonna plug the mix RGB node. And so here on, we'll see that, actually, we've got different names given the factor. Nine. So what we're gonna do here is we're gonna go click on factor and we're gonna take again. We're going to give it the nine roughness because that way we know that it's going to be the one that's going to be influencing the roughness. Shader on. There we go. So now we have the base model for our for Nell PBR. Now, this is the base model, so we're not finished yet. But basically, if you have done this, then you have your first steps in creating true, physically based rendered materials. This is the key bit. This is, for me, the most important. But just having these nodes set up so that your Fornell is going to be working as it would in the real world. Thanks, guys. On. I'll see you in the next lecture. Hi, guys. It's now time to create our first PBR Shader. So we got in speak. Starting were probably the most important PPR shade oval And that is the Finnell Shader. So we're going to be creating this for NLP Br Shada on the reason why is because the nor for Nell node that we have in a blender is good. It works, but it does not take into accounts the objects roughness value, which is what it should be doing. So what we're going to be doing is we're gonna be solving this problem by adding insult notes so that when the roughness off the surface will increase. The Finnell effect is going to decrease. So let's go into blender on what we've got. We've got the very basic set up. So what we're gonna do 1st 4 is we're going to create our nodes that we recorder. So we're going to be dropping and changing back and forth so we can get a good view. So if you'll know is in the slide here, we've actually got the basically other we're going to be using. So the first thing we're gonna do is put in our for Nell note. So we're going to be doing our for no note. Let's do that. We're gonna go shift, and I I'm going inputs. And then we'll have the final note and now we'll just pop it on there. Now, what I recommend when testing out your materials is that you have the no Wrangler add on, Enabled said no Wrangler. Add on. We're gonna go to file user preference sees Then we're gonna go to add owns, pick the search bar and swiping node, and then you should have the node Wrangler option. Make sure it's ticks. Save uses settings on enclose user preferences now, what could no longer does is it does of a variety of things. But I'm just gonna assume in on our yearly sphere because this is gonna be our main objects for reference, especially with the final note. If we go shift control and click on a final note, it actually gives us a fewer notes that we can actually view what our Chanel is doing. So we zoom in a bit, We can see this is what it's doing to our objects. We've got a nice, dark background. We were also got it lighting up at the edges off the object. This is how the fun L node works on. If we increase the index of refraction, which is this value here, then in the middle of the objects will grow brighter and brighter and brighter. 4. Reflection PBR: in this lecture, we're going to be creating a reflection. PBR Shader This shade up will help us to create the correct were fret reflective properties that our material will need. This is mainly used or on owners die electric materials. It's not really used in metal PPR materials because metal materials are based on close eash aiders and therefore it doesn't require a reflective PBR. However, die electric materials are going to need a reflection PBR so that we can accurately control the reflective properties. It's going to require the use of our for Nell Shader so that we can provide The final effect is part of our reflection. Like the Farnell shader, the reflection shader will be a part of our main PPR materials, mainly materials such the subsurface scattering PBR's used things such a skin on the die electric PBR, which is used for items such as clothing, would etcetera so we can see a belief look of what our PBR Shade is going to look like. As you can see, we've got the for Nell shader inside the reflection PPR So the for Nell was going to be a part off this new PBR shade up We're also guns have the glossy a swell as a mixed RGB node moving into a mix shader. So what we'll be doing it will be taken this step by step. First of all, let's make sure that we've got these four nodes in our no tree. So the first thing we're going to do is we go into Blender is before we add in those nodes , we're gonna change contest a couple of things. We need to make sure that our for Nell node works first and foremost. So I'm gonna go into our lend a few on at the moment we've got it. So that only be node group, that of for Nell is currently active on our object. So we have to values that we can change the index of refraction on the roughness value. So the index of a fraction is currently sets one went for five. If I increase this index refraction, the entire object should become brighter. So if I click here, we can see the object gradually becoming brighter. This is because when we have a higher index, awful fraction, the lights that hits the edges moves further and further in towards the center of the object with a lower, inexorable fraction. The shine or the reflection is more noticeable on the edges than it will be in the center. We also have the roughness value, the roughness value, the turbines, how strong the front of effect is. That's a value of Ciro. We should see the fernet effects in forward effects because there is no roughness being applied at a value off one. There should be no for nail whatsoever. Note, though, that while you can have objects were roughness value of Ciro. Remember that no object should ever have a roughness value of one. This means that the object will have no Fornell whatsoever, which is a physical impossibility. There are going to be some objects that gonna have values of hooks on 1.98 But even that is unlikely. So, normally, if an object is really rough, you're probably looking a value who ran point? No. And for roughness. It won't make any visual difference to the for now. But if you're looking to be accurate, then always make sure that you're not saying this value toe one. Keeping it 2.9, for example, is a great way of knowing. Okay, so we've got a roughness value that is like the material in the real world, but it's not set toe one, so it's not inaccurate. It's no an impossibility. So we now know that the roughness value works and the index of refraction works. If we go below one for the in literal fraction, we can see a halo effect on this is going to happen when you go below one and again some objects. You might look online and you might looking, you might see. Okay, so this has an index refraction off save 0.16 I tend to ignore those values because in blender you get this sort effects, and it's just not really stick. But the fact that this is happening here is excellent because it's hell's us that the shade of the PBR Shader is working on. That means that we can now start creating the reflection Shader. So before we do that, we need to namely. So I'm just going to left click here on. I'm going to type in for Nell and then PB all which get with extra e on press center. It's and now I have my PBR showed up for For Nell. That's it. That's done and dusted. So I'm just gonna go file, save Let that save on. Okay, so now I'm gonna do is I'm gonna begin adding in these shoulders that we require. So we require If I go shifting a on my keyboard, we're going to require a glossy shader to be paired with a friend. L We're guns Book needing a mix RGB no, which is located under color. So go mix rgb node. I'm just gonna put that in there, and you can already see the effect that has on if I put the glossy in, he and then that will makes the glossy with the for Nell so we can see the change in the factor value between two. So we've got at CEO, We can see all of the fun l on a value of one. We can see a with the glossy. And now I'm just gonna turn that grassi value down to zero for the roughness. And we're also just going to turn this value to I like to use point to just for tests, because I would want I always want to see that Fornell Shader in effect. And finally, we're gonna have the Knicks Shader. So we're gonna go to Shader and Mick. Shaler will just put that in there for the moment. Okay, so we've now got our four shader is that we're going to be using as a part of our reflection, PPR. So I'm going to pressed, eat, mix Shader first hold down the shift key and select our other free shade er's and then we're going to join them in a group so controlling g to join them in a group. So now we got ourselves our no clue. Now here the factor of the friend l has Bean created with a new output because we had it as part of you and note, which is why we've created this extra output. If we go back to our reference, we can see that we only have the shader. So from here we can see let's deal with the output first and then worry about the input. So the output only has the shader coming from the mix on guys have the for Nell factor into the mix rgb factor cenotes here that the Fornell is not being mixed directly with the glossy color, it's actually gonna become eat factor value. So that's a very important thing to note. So let's deal with that now. So we're going to go back into Blender. We're going to unplug that. I'm just gonna get rid of this factor value because there's no reason for us to have it. So we're going to click here where we select the fact of value and then we're going to click this expert so that gets rid of that. Next, I'm going to change so that this factor value now connects to this mix factor value. So now these two are connected. The glossy value is currently under color too. If we have a look, we can see that. Actually, that's not the case. We want to mix it up with the mix Shader. If you can just see, we can see the girl she showed. It goes through the mixology be on into the mix. Shader. The mixed RGB itself provides the factor value for the mix. Shader So, Dave, is he just gonna plug that into their and we're gonna plug that into there, said the reason why we've done that is just to go over. We have the group output and we have the mix. Shader, We've got the glossy in as one of the two main shade is that we're going to mix with the mix Shader and then we've got out for now, Node, that God has gone into a mixed RTB node on that makes RTB you know, it goes into the factor off the mix Shader The reason why we always want the for Nell effect to be a factor value. We don't want it to be a car value. We're not using it to the terminal color value were using it to determine reflection. And where that reflection actually is that this point If we begin moving around, nothing appears to be happening with our objects on us because it's no longer directly connected. So what we need to do now is we need to begin plucking in our inputs. So if we go back once again, we have 12345 inputs here. So our 1st 1 is going to be the shader for the mix Shader. We're gonna have the luff nous values and this is very important. The roughness values off the phone. L on the glossy shader are going to be the same. So we're going to be plugging them both in to the same? No, for the group input. The reason why is because once again, as we said, infernal PBR, the roughness value of the for Nell has to be directly related to any other with roughness values that we have in our material. Otherwise, it's not going to respond when we change the roughness of those values. So we're gonna have those two in there. We're gonna have our index refraction for frenilla on. We're also going to have again at the normal values bought the for Nell on the glossy shade er's again for the exact same reason as we would plug in the roughness values. Together, we're plugging in the normal values together so that when we also that normal value, it changes both the friend l under glossy to be the same value, which again is going to be very important for creating those accurate materials. And of course, we have this mix RGB node, which plugs into the vata, notes that we don't have any shader nodes for the glossy color or the mixed color. The reason why is, in general these colors on any non metals, they represent the color off. The reflection on the color of the reflection for any non metal should always be colorless . It should always be what that's why we're going to lead these colors exactly as they are. So now let's begin plugging our shade up together. So we're going to start with the roughness value up here and a roughness value down here. Let's drag that back a little bit sore there. Now connected next with guns. Do the normal values. Pluck them together and it doesn't really matter what do you do this? As long as it's done, the index refraction is gonna come next for me on. We're going to plug in this mixed value now I know did. It gives me a factor of color one. Instead of a factor value on, we're going to sort that out a little while later. But let's not worry about that for now. So we have another look. We can see that our factor value is actually a color backed color value on what we also need is to shake it up for the mix. Shader. So we're just going to take that color in from the mix Shader and plug it in there. So there we go. We got roughness. Normal index refraction, color one because that's the mixed factor on at the Shader. So let's have a look at this color value. So why is it color he on in the reference it's a factor value. Well, the reason wise, when we have this value, he we're actually going to want it to become a new medical value. We don't want it to be an actual color choice. So all we need to know now is we need to know how to change this from a color value to a factor value so that we can actually manipulate this the way we want to later, one sudden, What will dio is we need to find a node where we can actually create a factor, node. And that's actually not going to be too difficult. If we were to use I fact an old here and plug it in, we've now got ourselves a little factor Note. Excellent. So now I'm going to unplug that I'm gonna plug the color into the facts of value. Next. I'm going to select the color here and you guys get rid of it on, then we'll just hit the factor value. Plug it into the mix. I'm done and again you You know, later on exactly why we're using a factor value instead of a color value when we start connecting this with our main PBR shade er's But here we go. Guys, this is basically what we have four. Our reflection. PBR Shader I said. Now we can put out with the Shader and we can see we've got all of our values here and we're just going to nine lots Reflection PBL and then pressed. And so So now we've got a reflection PPR which allows us to make changes to our objects in terms of its reflective properties. Remember, this is used in conjunction with Di Electric. PB asked So in other words, non metals Robert done our actual objects. And as you can see, I've just clicked on itself a click away We're just gonna go off shift, take So that's what it looks up the mix shader or with the diffuse. And if I go shift control and click with my reflection PPR, we can see, the effect has changed quite dramatically. It's no longer just that little for Nell effect we were getting. It's now a full glossy effect because of what we got in this mix. Shader. So in this new PBR Shader and I just pressed the one bun. So there we go, managed to save it. That was lucky. So here we go. We caught roughness value. We've got the factor value, which we can change. That's working nicely. And remember this factor value. This represents the color value here for this mix. Shader. So this is useful for determining the brightness in this situation off our shader, which is very important. So we just come back out. So we've got that factor value, which is excellent. We thought the index of refraction, which if we assume into have a look, let's see if that's working yet. That's definitely working because we're just manipulation. Yet we're quite extreme changes. We can see clearly that that effect is changing now with the index refraction. Note that it's very difficult to see with a minor changes, so you do have to make quite extreme change to get that effect normally more than what you would actually have to do for the material. And finally, we've got that roughness value, which, as we can see, it was, um, a bit. When we increase that roughness, we get that change. You know the lasting effects, which is fantastic. So congratulations, You now have a fully functional reflection PBR Shader to use with any of your non metal objects. Congratulations on. I'll see you in the next lecture. 5. Dieletric PBR: our guys in this lecture. We're going to be creating a die electric PBR shade up The guy electric PBR is used for pretty much any material that is not glass or metal. All die. Electric materials will have diffuse reflection, roughness. And for now, in terms off reflection, roughness. Infra Nell, we will already have these ready as part of our reflection, PBR shader or we really need to do is I didn't the diffuse part. As you can see below, we have a couple of screenshots of what the end result is going to pay. So this is our finished PBR in what it would look like in the no tree. And when you open it up, this is what we're going to be seeing inside this PBR. So you guys have the reflection as the main note here, but we also guns have a diffuse into power nodes. Now, before we get into it, the reason why we have these two power nodes is because blenders calculations when it's determining things such as, nor values and roughness tend to be incorrect. So what we do is we use thes power nodes on. We set the value to a specific number in this case, too. On this will simulate how it should actually be affected in real world. To be more specific, this is going to make these sliders that we use with our die electric shader more accurate . So let's get into blender and create a die electric PBR shader set we've got here now. Ah, Reflection Shader on. What I'm just going to do is contract that out. Let's delete these mix shoulders because I don't need them. So this is what I've got. I've got my reflection, PBR shoulder. I'm not gonna unzip Opie in a few shader And what I'm just gonna do nice and just gonna pop that in there with my reflection Shader. And if we go into rendered view, we should get our di Electric PBR So this is the bulk of it. This is basically are die electric PB on its running to the little bit slow again technology these days. So this is our die electric PBR. Basically, these two notes are basically what created, and we can determine things such as the factor value on the roughness off the material. So we turn that up, let it load up and we get the roughness value. So what we need to do is make sure that these sliders are correct, because at the moment, an issue that we have is the fact that a roughness of the diffuse wise is too quickly When we increase the roughness, Value said. If we go back, I'm just going to sort out Wyatt samples very quickly because there's too many there. It's slowing down my computer, so I'm gonna go to my preview section and just type in fired on that way, we only get the five samples. That's all we really need for the test. So as I increase this value, the the fuse effect takes place very quickly. But it's too quick, so we need to sort this out by using some power values. If we go into our reflection. No, this is what we've got so far. So it's perfect. It simulates real reflection. But what we need now that the dye electric Shader is we need to add in the power nodes to allow it to be easily edited is at the moment. It's a little bit uneven, with the roughness values on any of the other slider values. So what we're gonna dio is we're going to go into solid mode temporarily. Just so you is Congar, go out faster. Right. We're gonna go shift. I on. What we want to do is you want to find our math node very, very powerful. The math modes, every single person I know who uses cycles absolutely loves of math mode. So we're going to find that math. No. Which I believe these under converter. Yes, it is. It comes on his ads, but we can easily change that here. So we're gonna change that to power, and then we're going to duplicate this so shift and I We'll shift in Deraa, Va. Because we want to duplicate it and drag it down here. Excellent. So where do we need spot these power values? Well, if we have a quick reference at our die electric, we can see that we need to pop these power values. The top one needs to go into the roughness values. And the bottom one is fourth e reflection values. So let's double check here that we've got them ready to set up. So we're going to go back into blender and, uh, have a look here. We don't have a reflection value. Why is that the case? Well, let's sort that out now. So let's pop in. And we want to get ourselves a reflection value. So we have a look here on day, I see the issue straight way. So we've got that factor value there. So originally we had that factor value with the mix RGB node just to act as a placeholder. But now we're actually going to change this form a factor value to a reflection value. So it's basically set up exactly the way we want it. So if we just pop out, it's a fact of Ali, which is perfect. It's exactly the way we want it to be. A All we need to do is just rename it so that's basically it. We're gonna click, I think, and we're gonna rename it Aziz reflection because it determines the strength of the reflection. So what we're gonna do now is you're gonna pop out of that on we're going to put this power value up here into the roughness, off the diffuse, on the roughness off the reflection. Very important that it does saying for both, we're just gonna set the value of the bottom value off this power node to to we're then gonna plug this power node at the bottom into the reflection value, and then we'll just again change one of these values, too, to we double checked because it can actually make a difference that you're doing with a quit one. So yet with both of them were doing the values on the bottom notes. So now what we can do is we can actually bring a lot together as a full die electric PBR shade up Onda. As you can see here, these are the group inputs that we're going to want. So we're gonna want the color, the roughness, the reflection, the index of refraction on the normal notes that the love nous connects only to the power node above. It does not connect directly to diffuse and reflection shade er's. The reason why is because then it would bypass what the power node is trying to do, which is to correct the internal algorithms as the how the slider value actually impact our by electric shavers, roughness and reflection. This is why we only have them planting out to the power nodes who are other than the shader knows. We also have the index herbal fraction, which is going to be directly connected to through reflection PBR on the normal value which will be directly connected again to both of the fuse. Normal Onda reflection Normal again for the same reason as the power. No being connected to both the diffuse Onda reflection for roughness. We need both the normal values to be the same with the group input. Otherwise the final result will look a little bit unrealistic. So let's now create this node. So we're gonna go into Linda, select our four nodes, so 12 free and four control and G to put it all into a single node and now we can begin annexing them with the group inputs. So we're going to connect this value node up here on this value node. Yeah, and let's re name as we go. So this top one here, this is the roughness. So we're going to click that went ago. Gruffness. The next one is our reflection. The next one is going to be the car lot, so diffuse color which we can leave it as it is We also have the index of refraction, Onda, normals And don't forget the both nor wars are going to be used in the same group Input. So there we go. We have it exactly as we want to. The only thing that old change here is that I want the color to be at the very top. So I wanted to go in an order off priority. So we've got the color of the top roughness in reflection in Exeter Faction on normal. And of course you caught the output, which is the shader. So now I'm going to press this button here to go to my parent. No tree with not going on. No group left Lee and we'll go PBR duh electric and so organ in capitals, but doesn't really matter. We just pan our little bit. Here we go. So now if assuming we have our PBR Die Electric Shader so it's all good and ready to go So let's just test to make sure that this is working goods. I'm just gonna go foil and save just to make sure that nothing bad happens. We're gonna go to rendered view on at the moment it looks good selection. First ball, change that. Call us. We're gonna change it to greenish color. Give it a second excellence. And now this appears to be working. We have by default both roughness and affection. Values set to CEO 0.5. Let's decrease that roughness on our So here we've got something that we don't really wants . We've got our roughness and reflection values going into in difference value. So it's not between zero and one. So we've got to try and sort this out. I mean, it's absolutely fine toe have it like that and just type in them and numbers manually. But we want it to be a little bit easier to control. So what we need to do is we need to go back into solid view. We're going to pop into our PBR Shader on. What we'll do is the roughest and affection values need changing. So what we need to do is we need to make them values of between sear on one. So I'm going to bring those out. So now we need to create a node that will give us that type off options. So we're gonna go mixology, be pop it. There so it's not gonna factor value. But if we plug it in, he and select the roughness value, we've got a default values and we've got these values here. Okay, So what we need to do is we need to change these values now. I probably could have done that. Let's check the reflection. Yeah. Okay. So we could actually change that with that. The use of the mixology be shoulder. So will go. I've done it like that poor in the past, and it's works fine. But obviously we can just do it this way. So we're gonna go start a value of zero, and we're going to the two values between zero and one. Now, I'll just check if that works with roughness. It should do noisy one. Worry about a reflection for a set. Now that goes between Syria and one which is excellent. And if we go to rendered view So Okay, so we've got though you reflective PBR Here we increase that roughness by one. We get that little bit. Shining food is exactly what we want. Teoh blue. And if I turn upto one excellence and now that works perfectly Now. Obviously there are other ways that you can sort this issue out, as she probably saw a second ago. I was using the mixer Are should be node and we were going to use the factor values there. But this method will work as well when facts is probably a better method. So now I'm going to do the same with my reflection. So I'm gonna turn a default value to zero the minimum value to zero on the maximum value to one. And now, if we can connect the reflection noted to the power node and then come out, then what we should see is it. We turn that down to zero. We get a nice, reflective materials. There's no roughness if we increase that up. So one perfect. So what we're getting here is if we increase it all the way up to one, it's basically almost entirely glossy. But we can actually also see the for Nell effect of the diffuse color coming fruits. We've still got that color, but it's just that with a value of one, it's a very, very glossy on and also very reflective. And now we increase that roughness value. We should get that blurring as well, excellence. And now what you're looking at is basically a grassy material with the dye electric color for the final effect, which is exactly what we want for these values. So now I can bring that down to a value that I like. Let's bring that roughness file you down to about 0.1. Excellent. And I really like the look of that material. So there we go. So now we have our die electric PBR shader on What you have here, ladies and gentlemen, is a shade of that will save you a lot of time. Because now you don't have to worry about how the light is going to hit your objects. You don't have to worry about the roughness. You don't have to worry about reflection all index of refraction. It's all here. It's already for you to use whenever you need it. Thanks, guys. And I will see you in the next lecture. 6. Upgraded Fresnal: in this lecture were guns be upgrading our for Nell PPR shader. Now the reason why we didn't do this with the Dye Electric Shader was because it wasn't really required at the time. But now that we're about to move on to metals we need to give after NLP be are a little bit more flexibility. The reason why is because the final effect actually has a slightly different effect on metals to non metals. The basic effect is still the same. It provides a deal of reflection on the edges or the object. However, with metal, it's already 100% reflective. So it was a fun L can be used toe, operate reflections to edges and then have the center off a face and completely normal, reflective with metals. Unlike dialect tricks, that is not the case for Nell actually acts as a boost. Larva don an actual overlay. So with with the dye electric PBR's, for example, the friend Ellis like an overlay effect where on the edges, you get this little bit of a reflection that you just don't see when you're looking straight at the object, but with metals. That's not the case because No matter where you look at a metallic object form, it's always going to be completely reflective in theory. So what will we do is we be upgrading it to have free separate outputs die electric metal on grim so you know it's wants to win. Therefore, well, this will add a wom effect. The reason why is because again, unlike die electrics, where the for Nell is actually colorless, the rim effects that applies to metals actually has a slightly different carla to the original color of the metallic object. Because you have more reflection on the edges off a metallic object, the actual color off that reflection will be altered, which is why we need the room effect. We can see here what we're going to need to do. So we've got the same set up for the friend. L is normal, but we also have four additional nodes that we're going to be using to create the metal and William outputs. So we're not really adding too much here. We're just adding little bits and pieces on. Ultimately, we're not going to be changing anything with the dialectic part way. That's not gonna be changed. It all were simply adding more part ways for the Fornell PBR Shader to use. So let's go through these two. So basically we have the metal which will have thief Anel effect as normal. Sames die electric. But this goes in to a value node for the subtract value. So the reason why we choose such tracks is because we actually want to take one for Nell away. Form another Teoh, give our object the metallic funnel effect. In other words, we're looking at solving an issue. Where in blender, If you don't do this effect, you actually don't cto for Nell itself. Because if you just do it normally, then obviously, as I've previously mentioned, metal was already 100% reflective. So you normally don't see the fun? L So you need this sub tract node in order up to actually have that effect become clear. And then we have the rim effect which is going to use on No, that's very similar. For now it's going to use the layer weight node on. We're going to use that, and then we're gonna use our trusty power no, to sort out the algorithms in blender again. On what That's going to do is it's gonna allow us to create a rim effect where will be able to actually change the color. So let's go into blender on will create these notes. So going to go into a blender and what we're gonna do now is just for the moment is gonna connect that up on. We're going to go to ads. I'm gonna add a group, and we're gonna select for Nell PBR. We don't want the PBR die electric. We just want the friend l itself So gonna bring that in and this is what it looks like at the moment. So let's change this up a bit. Consume out. So what I'm gonna do isn't gonna bring my mixed mode up here a bit on bloomed, Fornell Node up here and we're gonna start by changing this output to die electorate. So we know straight away what this output is. Now let's add the knowledge that we were quiet so we're going to require a for Nell knows we're also going to acquire a layout weight snowed and will be requiring a couple of math notes. So if we look for map concert up math said this once attracts shift the select. This one's of power on what will just do this whole place, This one here on the power node here, and let's name them straight away. So we're going to go with the metal first, and then we're gonna go with Lim. So now we've got Now what? Shade is in place, and now it's times begin connecting them up. We're going to connect this for Nell to the bottom value of the sub tract node. Very important there. The subject value has to receive this run out in the bottom node on. We're gonna take this top fun l for the dialect trick, and we're gonna plug it into the top. How you notes. So the dialectic Fornell goes into the top value on this run. L here goes into the bottom value. Next, we're going to take the layer weight on it. We actually have a look at our reference. We need to make sure that we're using the facing option, not the Fornell auction, because we want this to act with the rim, effete that when we actually look at the objects, we can see the rim effect in place. So we're going to use the facing, and then we're going to input that blend value into the input. And we're also going to input the Iowa and the normal values into the input on geometry. So as you can also see the color value of the mix, Shader here goes into the incoming geometry, the normal value. But a friend l here is going to do the same thing is gonna come into that incoming value. So we are going to take this no value and plug it in. Here, take this Iowa or value. I'm plug it in here, connect the facing value to the power node and set the bottom value to to. Now we're gonna take this blend value and Poppy here. But let's have a look at see what this does. So we're gonna come out, Andi, it gives us this slider value. Now let's double check to see if that's right. So we're gonna go to how, uh, note and we can see women effect. There is. So we've got the roughness. The Iowa are the normal in the women's debts. You would go back to double check, so we want to rename. That has to win effect. So we're going to select blend with effects and answer. And now if we double check yet, we can see we've got that room affects value here connected to this blend value, which is absolutely perfect. So there we go, guys, we now have our upgraded Fornell PBR. Where depending on what's objects. What until you are creating, you can choose which off these PPR shade er's that you want to use for your objects in this case will end up using the metal on a limb for NLP br Shade er's. But to do that here, we obviously need our actual metal PBR, which we can now create in the next step. Because now we have the color on. We have the for Nell. All that's required now is to create the metallic shader itself. Thanks, guys. And I'll see you in the next election. 7. Metal Color PBR: in its lecture were guns be creating a metal color PBR. This PPR will house a lot different metal colors for gold, silver, chromium, etcetera. It should be used in combination with the metallic PBR. So this isn't gonna be the metal PBR itself. This is going to be the place where we store a with the color values bore A with the main metals that we might find in the real world. So iron, silver, aluminium, gold, copper, chromium, nickel, titanium and kobal Steele's not currently on their however earthy still, values are actually very similar toothy iron values. We just with a little bit more brightness and on and reflection Sudden, what we're going to be doing is we're going to be taking the values that are located in this table here on. We're going to be creating this snowed on inside this note with guns, have a Siri's or RGB nodes. Each RGB represents one of thes sets of values on those RGB knows we placed into the group output to represent that color. So again, at the main reason why we're doing this is because alot metals have a specific color on the RGB scale on also the fact that, unlike dialect tricks, you can't really ferry these too much. If you begin to bury them, then you won't actually get the effect of that actual metallic object. In terms of die electric objects, normally you can get multiple different colors of the same type of objects. For example, would has many different shades, but there aren't really any different shades of gold. The reason why is because metals do not absorb lights. They simply reflect it on it is that reflection that gives that metal its color. So let's create our metal color PBR shader in blender. So we've got our PBR die electric. But at this point, we don't really need the PBR die electric. So what I'm gonna do he's a wants us to keep this material. I'm just going to rename it here. So we're gonna name it PPR, dia electric and enter. So we've now got that and we're just gonna go to material. I'm gonna drug this box. We're gonna click this plus button here toe add a new material slop. We're then gonna click the new button so that we can add a new material because ultimately the dye electric is four die electric materials on the metal was gonna be metal food materials, so we don't really want them at this point to be in the same no tree. So now I'm gonna do is I'm gonna delete that a few shader whenever you're creating a metal . You don't need this at all because there's no such thing as the fuse in metal. So can press the x case. Delete that. And now we're gonna do is we're gonna bring in the nodes required four hour metal PBR. And that's gonna be very simple, because all we require here are the RGB notes. That's it. That's all we're going to require for this? No clue. RGB knows. So what will do is we'll start with the 1st 1 Get into there we go. So gonna go shift. I carla mixology be No, that's not like you hear a little trick there. So, again, this is something I did a lot of the time and I've done it here on purpose. There are several different shada nodes that can actually be quite similar in their name. So make sure that you get the right one. So the mix rgb mixes them all together however we want is a regular RGB. So we're gonna go to the was inputs wasn't but there is Donna on we're gonna go are GV. So the RGB note is actually an input note. It's not a shade of note. We just can assume out. And now what we can do is we compress this far here on weaken type in the values. So we're going to start with iron. So the family for iron is I read value of 0.56 a green value of 0.57 on a blue value of 0.58 Now, I'm just gonna double check to make sure that value is correct. And what I've done just to make things a little bit quicker is I've just placed my table in my word documents so I can get a good look and I can see Yes, those bodies are correct. So next we have silver. So I'm going to do is I'm going to duplicate this RGB node with shift and D and drag it down. Then I'm going to minimize this rgb No by placing the sorrow and just drive that up. So now we're gonna go on, We're going to go like that. And now we want to change these values. And now I'm gonna have to double check. So we won't 0.972 0.960 point 915 So their point nines and the numbers have got to remember our 7 to 6015 So 0.972 0.97 to try again. There we go. 0.96 So on 2.914 I will double check to make sure that's the case, Correct. So I could just fast board it. But I feel it will be better if you went through the entire process with me. So once we create a couple of RGB notes, what we can do now is weaken select both of these notes. Hey, Control and she And now we can begin connecting them in our no groups. I'm just gonna connect these two notes, first of all, and we're going to start naming them as we go. So I'm gonna name this as iron and answer, then select the color and go silver and enter. So now we've got our 1st 2 medals. So now I'm gonna go shifty and we're gonna do it multiple times. They we might end up having to do one or two more times, but for now, let's move on back to what the color value should base. And next will be aluminium. So I'm gonna plug that in there, select color and change it to Alu 1,000,000 and Jessel Ambush. No American, so I don't pronounce it. Alamoudi RG plans it. Aluminium al you mini the, um I say we go on. Now the values are going to be 91 free 9 to 19 to five. So 13 to 1 to five. So in a guy, One free 21 Andi 25 and then we double check Colette. Okay, next one is going to be gold. Now, this one is going to be a value of one for the Reds because it's very easy to remember. 766336 So, in a guy 766 make sure we put in point before and then 0.336 Andi, If you're not sure whether or not the values are correct, you can always go into rendered mode and check to see if those values are correct, I'm gonna show you handsome that in a minute. But since we know that these are going to be the clips values because they just don't change just because you use different blood to files don't never change. Don't worry about it. So we're just gonna keep going. For now, we're gonna plug that one in. And this is going to be, uh, gold material, which is probably my favorite up. Next, we've got our copper material, which is 0.955 point 637 and 6370.538 on a beautiful thing about this is, once you've done all this one, she'll never have to do it again. Why, that's my favorite thing about creating no groups is that you can create ones and you can use them for any project. So 0.955 they're getting a little bit tricky in our because the values are little bit more diverse as we go down. So you've got 0.637 So 0.637 and enter, and then the last one is going to be 538 So I'm gonna go point via free eight and There's all copper material. Plug that in and name that as copper. Excellent. Up next we have now, uh, chromium. So it's by 50556 by 54 nice and easy. This one 0.550 by 56 on 554 on Dino. Guys, this does seem, like, quite repetitive this lecture up. But as I just said, once you've done it once, you won't have to worry about it again. So gonna change this one, too. Closing the, um And now we can go to nickel. So got nickel, which is 6606095 to 6. So he got 0.6 x zero come out assuming again. So you guys can see the next one was 10.609 and then we hade what, 26 was it? 4 to 6? Yes, 46. Okay. And that will be our nickel. She's gonna make that into our Nicole Mel on. We're almost I'm not gonna plug this one in. How many do we have left? We have two left, titanium and cobalt. So this one's gonna be now. Ah, so Itanium. And if we just do this one shift day. We'll name it now, sweethearts, Do it! Lay up! This one is Kobal. And now let's just do this values. So the titanium is gonna be 5 to 4 Says gonna be 0.5 to 4 and then 497449 497 Oops! 497 on 2.449 And that's all Titanium. And then finally, are Copel. He's going to bay! 662655634 So 0.662 0.6 point five on point six. Free four. Answer! And there we go, guys. And now we just come out of that a name it as metal color and we zoom in and there we go. So congratulations, guys. We now have our metal color PBR shader that we can use so that we can instantly select any metallic color that we want Banks, guys. And I'll see you in the next lecture 8. Metal PBR: in this lecture, we're going to be creating our metal PPR. So after several lectures of buildup in terms of upgrading before now and creating our metal color PBR, we're finally ready to create the metal PBR itself on. There's not really going to be that much. Do we have to do because all we have to do is pop in a few notes and make a couple of changes to what we did for the dye electric Shader. So basically the biggest difference will be replacing that a few shade up with the Grassi Shader. Of course, in metals there is no such thing as the few slight. It is 100% reflective metals themselves. Therefore, do not give off any particular color. It is the reflection that gives the color of the metal. For example, the reflection of gold athlete is the creation off that gold color as a result, the reflection. In addition, while we will need the Finnell Shader which we've upgraded, we will not need the reflection PPR as we will still get the result of the reflection. PBR with the for Nell and glossy node combined. Remember, we're only using the glossy Shader which means it's going to be 100% reflective anyway. We don't need the reflection PBR with this metal material so we can see the final results, which is going to include the base color, the rim color, the roughness, the dialogue, the normal the rim effects, which is how strong the Fornell. What is going to be in terms of its color on the reflective color itself. Now, out of all of these, the one that you probably don't need to worry about is reflective color That's nearly always gonna be wine factually could just easily just know include that on notice as well. We don't have any reflection value here. So with di electric interior walls, we have a reflection, pal. You to go with our roughness value. But because metals are 100% reflective anyway, we don't require a reflective value here. So as we can see here, we have our group inputs and output on. We're going to use a single glossy shader with a couple Miksche aiders, the Fornell note, the upgraded version of the Fornell Node on and the power No. Once again, even though that's minimized, you can probably guess what value we're going to be using for the power that is a valuable to. So without further ado, let's constructs this metallic PBR. So I'm gonna go into blender on at the moment we've got If I assume in, we've got metal Carla mm to output. So now I'm going to begin bringing in our notes that we want for our new note group. So we're going to start by going to add and going to group, and I'm going to select Brunel PBR. Remember, we don't need the reflection. We just need the for Nell. So bring that in and I'll just bring that up here Next. We need to bring in our glossy shade up someone to go shift and I shader and then select glossy. Next, we're going to add our to mix rgb nodes. So note again, we go back to our reference they're not mix shader. Is there mixed RGB nodes or might have said mix? Shader is by mistake there mix. RGB knows again, I'm always getting those mixed up, so we're gonna have those mixed notes. So we go to color mixology bay, select it, shift day and just track it down and then the last one that we should need is the power node. So we're gonna go to the math node, which is better Converse. Sorry. And then we're gonna switch this to power and set this bottom value to to. Now I'm gonna select thes form five notes. So holding shift key to select all of these notes control and G on my keyboard to make them into a full night. So now we're guns begin connecting them up. So let's just structure them and will start from the back. So we're gonna go without glossy inside here on what we'll do is we have a look at our reference guides, Kate. We can see glossy connects it unmixed color. But the roughness is going to connect to the power node. The normal is gonna connect to the group in books. So going to get glossy to mix color, love, NIST power normal to input. So we're gonna go glossy to mix rough Mr Power and Normal to in the and that it's done. Excellent. Now we're going to determine what goes into this mix. RGB node. So that should be the for Nell on. I believe the mixed mode down here. Hold on a sec that she's gone fruit. So you gotta be careful. Sometimes you might end up holding over, and then it connects Neither. I wanted to do that. So I'm just gonna put that down here on what we should want is we want this mix color to be color one and no is hard color tube. But this mixology be node is actually our reflective color. But again, we don't really need to worry about our efforts of color. You don't need to do this if you don't want to. It's not really that in Oldham. So the mix and RGB he's gonna be connected to color one. Andi for Nell metal is going to be connected to the factor off this mix rt bait the Fornell Wim is going to be connected to this mixology V. So let's do that. Now. We're gonna go with the metal to the Fanta color one to mix. I'm just gonna going this up a little bit so we can see. Excellent. So now we're going to just reshuffle this a little bit, cause I want this wom color to come down to this factor value and now we're almost there. So at this point, we've got the glossy shader as the output. The glossy shoulder is connected to the mix Shader, which is going to allow us to create thief Anel effect for our glossy shader. We've got the roughness value with Power Valley, which is going to sort out that power value. We're also gonna have to connect this gruffness value to that power value as well and then connect this power value here and then we're just going to click on that and we're gonna nine. It's as roughness. We're also gonna connects the for NLP PR for the normal to the normal. Here on the index of refraction as well. We're also going to connect up the women effects. Now we can minimize our power, folks. It doesn't need to be like that anymore. So I just bring this up here that looks good turns again. We've got the color mode here. So what we gonna do here is these colors are going to represent the base color on the rim color to color. One for this mixed mode is going to be the base color on color. To is going to be our limb color because we're using the four Nails Ling effect Women effect as the factor value here. That means that with the rim effect, the color one is going to be the color of the actual objects on color. To is going to be the Fornell color. So that's gonna be the edge tint. So let's plug those in as well. So gonna plug one in here on the second in he I'm going to select color one, and we're gonna name that as our nice color, an answer. And then we're going to select color to on name. It's as our Quinn color and answer. And there we go. That should be pretty much everything that we need to do. So we've got our normal value roughness index of refraction women effect based color on dlim! Color If you really want to, then we can plug this color to here at the bottom, and that will be now, uh, reflective and enter. The last thing going do here is I'm going to want to reel that these based on priority. So we're gonna just push that down a couple on a one the base color to be on top I'm gonna want the limb Khanna to be just below. We're gonna want love nous, then the next one faction than normal. Then we get the room effect and reflected color. So that's basically the order or one because it's the order of importance and the most likely ones to be used while going to be at the top. So as a review, what we call we go out glossy shader into a mixed RTB node. We also have the normal value directly connected to the input on the roughness value connected to this power node. Along with the phone Els roughness. That power known thing goes directly into the group input and what this will do is it will ensure that the roughness values are calculated correctly. We also have the normal values connected into the same input is the glossy shader to ensure it and almost glossy and for now, about the same. And we're actually using for now, twice here. So we've got the metal for now into this mix RCB node. And then we've got the limit for nail which will represent the rim color connected into the facts or this mix RTB node. And this is our main No, here for actually input in the colors. This mixed mode here. So the first color here is our base color on the second color here is going to be our Rym color, which is gonna be our age Tip. So there we go. We can come out now when we can connect this up, hopefully over. And then it also connects to the one on salt, which is the base color. So now you want just plucking the gold looks awful, which is gonna rename this material as metal. So I'm gonna come over here and left, click and name it as a metal. Now, go probably will happen here is it probably won't work. So if I go into rendered view just as I expected Now, when you have multiple materials, I'm sure we know by now. But obviously, no matter how many materials you create for an object, you still have to assign a material for it to be visible. So we're gonna go into sorted few hit. It's happy to go into edit mode, and I'm going to click a sign. Now I'm gonna go into object mode if I go into rendered we can now see that we have our goal. It's cereal on. We can adjust these values as we see fit so I can change this rim color. They're not to be a great ish color, so we might have nice and quiet on. You probably say a little bit of the edge tins. You can see it taught there. So we have lack nice color. We got the win color because it's roughness value, which, as we can see, he is just one little issue. So it's working. So pull ups 2.5 and it's perfectly diffuse here, but we don't want it to be so flexible with got far too much variety. We just want it to be between zero and one for the roughness value. So what we need to do is we need to go back into the group on the value that we're looking for is the Lufkin's value here. So what we're gonna do is gonna go shift, and I and I'm gonna want to bring in a mix RGB because this mix are to be has a factor value between Ciro on one. Then we're going to do so. Just plug it in to the bottom e and we're actually going to name this as the roughness We got Default value 0.5, minimum value CEO Max Value one. And now I'm gonna do so good. She's gonna touch our roughness mode. He just detached the mix Shader. And now we're just gonna plug that in their to the power. And now, if we have a look, this roughness note at the bottom here goes between Ciro, which she's no roughness whatsoever. So one, which is four roughness, which is basically a miracle. Diffuse that, son Guns, check on. We can actually see the limb effects is already exactly what we want. So we increased this up to one. We can actually see that the room effect accompanies the entire gold object that falls to change that Wim culottes sight read. Then the entire objects goes red with a wom effects of one, which is exactly what we're looking for. If we begin to move this down, then we can see the Finnell gradually having a lesser and lesser effect on our objects For most objects, especially shiny ones, you want to win effected between 0.2 and point free. But next What we're going to do now is we're just going to select the original roughness node and delete. It just makes what's the original one on. Delete it. And then we're gonna select the new roughness value and just bring it up. Teoh. Slot free. Now we're guns. You just bring ourselves out. Cook here. I will just give it a name. Metal. PBR An answer. Congratulations, guys. You now have your metal PBR shade up for use on. I will see you in the next lecture. 9. Glass PBR: in this lecture, we're gonna be creating a glass PBR Shader. Now, this is gonna be pretty easy because we really need to do is add for now to the glass Shader. The reason why is because the glass shade of by default is already quite physically accurate. Now there are several different ways in which you conduce this because the glass shader itself is very accurate already. Then there are different methods in which we could use to create a more realistic shader. Of course, really Stick isn't the right word. Really. What we're doing here is we're creating a PPR glass Shader not necessarily to make it more realistic, but toe add options to the standard glass shaker. So let's go into blender and we're going to create ourselves a glass PBR. Now we have a look, first of all at the metal PBR and have a look at how that is set up. We have all for now, node with the mixed nodes on the glossy mode. Now we're guys be using a very similar set up here. Four hour glass. The big difference here, though, is we're going to swap out the glossy with the glass first of all. So what I'm going to be doing is there going to be adding a new slot and will make the PBR metal? Then we're gonna click on this plus button to make a new material, and we'll name it as p pr glass. Next, I'm going to select the metal color on delete it because we don't need anymore. Now, what I'm gonna do is I'm gonna go into the shader and we're going to first of all, delete this glossy shade or actually, we're not gonna delete it. What we're gonna do, though, is gonna add a glass shader and just pop it here and now I'm just kind of place the nodes over to our glass Shader. No, we also have this index of refraction value but a glass shader. So we're gonna pop that in to the index of refraction over here. Then we put this in here and now we pull pots. What we're gonna do is we're gonna go into edit mode for objects and click the sign. Now let's have a look to see how it's worked in our scene, and that is actually working very well, so that's basically correct so you might be thinking, Oh, it's not correct. The image looks upside down when we were looking through the glass. But if you have a look at glass balls in particular, well, if you look on Google, if you have any like transparent glass balls that used for Christmas decorations, you'll actually see that we get the same with same effects. We get this effect where the objects basically inverts what it sees. This is what camera lenses do as well. So this is a perfect material not only for standard glass but also for camera lenses. Because camera lenses in the real world they take photographs all the world around it. But the lens will take that picture upside down, and it's basically work that way, since photographs were basically invented through cameras. But here, what we can do is we can change this swim color just to sort that our little bit. And at the moment we've got things like the index of refraction, which is basically 1.454 hour glass objects, which is excellent. We've got the roughness value that we can increase or decrease now again, depending on what you want to use for your glass. You might have a higher roughness value. You might have a logo roughness value. But in general, since glasses meant to be transparent if you're gonna use it, things such as Windows, you're gonna want a very low roughness value. Say 0.5 And there we go. So now we've got ourselves a glass shader. So now we're gonna go file and save notes that the name off the node itself, he's still classed as PBR Metal. If we go to our other objects, we can actually see that the same thing has happened to our other materials. So that node group in particular has actually being changed across all of our materials, even dough. We've separated the materials themselves. So that's just one thing that you've got to keep in one. I did do that on purpose just so you could see what would happen if you began editing your nodes in other circumstances. So lest has the couple solutions very quickly, if we would go shift, day duplicates it. It's just having a bit of trouble with moments. I'm just gonna go back in solid view, shifty and duplicate it. We would change the name or this mode here to say PB all try again. PB all glass again. It changes theory journal because they're still connected because we can see he that we've got the number of users for this note. So again, little issues here you have to keep in mind. So the purpose the additional purpose of this electric here was not only to show you how to create a glass PBR shader, but also to be wary that you don't necessarily want to be using your other shade er's as your defaults because it will basically override them. But there we go. Guys, that's basically the glass Shader. Now, if you have for a long exactly with my lecture and you ended up a place in your metal, don't worry too much about it. Will just lee name it PPR metal and enter. And then we'll just pop in that And what will do, very simply is we can always just hope these, but put the glossy in here unplugged that and there we go. So now we've got that metal node back again on All we can do is you can go but group going back home, It'll color and there we go. So now we've got our metal. No back. So there we go. Just a little bit of trouble shooting for you alongside the creation of the glass Shader. Just add a bit more content of the lecture sins. Creating the glass shader would be so easy. But the ultimate way of doing this would obviously be to just go through the process again or creating that glass shade at separately. But dear, just basically creating the metal shade or a second time from scratch, but using a glass shader instead of glossy one. Thanks, guys, and I will see you in the next lecture. 10. Less/More Slider PBR: in this lecture were guns be creating a less more slider for our PBR materials. This people are allows us to maintain the ability to control the love nous on reflection values on our PBR shade er's even when we had touched those logs to image textures. So if you have a look at your by electric PBR, for example, you'll see the Obviously you've got the roughness and reflection by the use on that PBR slide up, which you can slide up and down between the value all 01 How is Ah? Those are also notes. So when you attach enough our node to the roughness value, for example, you're going to lose the ability to determine the roughness or reflective value. So we also need to make sure that our node has a minus 1 to 1 slide for simplicity. As you can see down here, it's a very simple looking PBR slide out that basically has two inputs and one output. The inputs are the color on the less more value slider. The color input is going to represent the text shot that is connected to the slider. So, for example, if you have a glossy map. And you're going to connect that to your main PBR than what you would do is you would connect the Grassi map to this color node here for the less more slide up. Define the value off that node that you want so you can determine its intensity and then output the slider into your main PBR. This way you can connect your main PB over that be a die electrical metal PBR shader to any textures that you want on still maintained complete control. So what does this look like inside the shader? Well, at first glance will see that we have free notes. Now we're actually gonna have a 41 temporarily. But I'll explain that in a minute. We first of all, have the overlay value. Andi will combine that with an Adama function and a multiply it map function. Each of these malfunctions is going to have a value off points five each. This is going to ensure that the calculations used by the less more slider are the same calculations use for the PBR Shade is themselves. So if you'll remember with the dye, electric and metal shade er's, particularly with the dye electric one, we had to use certain malfunctions to make the actual slider actors. It would have a real world. The same case applies here because we're now creating an additional note set up with in addition, slider. We need those calculations to match what would be in the actual PBR shader, which is why we have these multiple and add functions. So these are the free ones that we're going to be using. But in addition to these free, we're also going to have an additional mode, for example, a mix RTB node which is going to allow us to actually create the less more slider itself. And then we'll be able to connect that up to the following nodes, as you can see here. So let's now create our less more slider. Note that the less more slider is only really going to be required when you're connecting it to PP Arnold's that out, these less more values that you can scale. So we're going to go into a blender and I'm going to do it with my PBR Die electric material, but you can do it with any material that you want on what we're going to do first is we're just going to bring in the correct nodes that we want to bring in. So we're gonna go shift. I ons were gonna go for we confined the meth node, bring that in shift dates, duplicates and then change this first node to multiply and connected up to the top value here for the ads. And then what we needs to next is bringing on overlay. So then go shift I on. If we go to color and mix RGB and we're gonna change this value for mix and we're going to select over light so more counts from space here and then we're going to connect this value to one of these values. Now, if we have a never look, we can see that the value is connected to the top color. It is not connected to the fact that input, because we want the factor input of the overlay to be a value of one. Which means that these calculations he will overlay what we get in color to color to remember is going to be to texture color. One is going to be how rough or reflective that's Hoekstra is going to be. The pending on whether you're judging the roughness or reflective values. So it's very important that we have the facts of value one. Otherwise, it's not going to be completely accurate. So we're going to change that value toe one and connected up to color one. Next, we're going to select all three of these holding the shift key, and then we're going to go on and we're gonna go to Glueck Nodes on. We're going to go make a clue. So now we've made a group and we're just going to plug this overlay into the group output on. We're also going to plug this multiplier value here. Now, if we have a look at what we have for our slider itself, we can see that when we plug this in, we get the less more value. So this actually should be a slider here. Let's see if that is actually the case. So So we're going to go ons back into blender and we're gonna come out on We've got a value of 0.5, but notes that we have an issue where the value goes far beyond the values of minus one on one. So going to need some I could change that. So going to disconnect this first of all, and what we'll do is we'll go shift and a on Let's try adding in a mix RCB node cause a mix RTB node has a factor slider that we can use and it's company between zero and one, but it works the way we wanted to. So what I'm going to do is I'm gonna connect this slider, he and then I'm going to come over here, select the value output on. We're gonna get rid of that because we don't need it. And now we've got the facts of value here, which we can change up and down between zero and one. Now, to change this to the value that we want, we're gonna go to this minimum value left, click, and go more nous one and ends up. And then we'll set the default value to zero. Now, an important question you might be asking is why we using a value of minus one? Well, later on in the course, you will probably get an opportunity to see this in action. But basically what we're doing here is we use for roughness and reflection we use black and white maps for texture. So basically, the darker values represent no reflection on the lighter values represent complete reflection. So the idea here is that with this less more slider, if you get a value of minus one, you'll get a completely black value on. If you get a value one, you get a completely white value. What this would mean is that at minus one, your objects would have Ciro Reflection Onda Value one. It would be completely reflective on the same concept applies for when you were doing the roughness. So that's just a basic overview. And that's really the real reason why we're having to create this slider in the first place . Because this is the sort of thing that we're going to once because it gives us a bit more control over exactly how Lovell reflective our object is going to be when applying textures to the object. So now we're going to click the name here, and we're going to name it as less dash more and answer. Now I'm going to take this out, or why mixed node and pluck it in to the value node in our multiply node Now I can just press the X key to delete the mix Shader. And second, we're gonna take this color node clock in he the color too. And then we just click that and we'll just call this as the texture he answer And there we go. So now what we have here is we have a less more slider that we can use to determine the glossy nous, the roughness or the reflection values off our PPR shader so we can plug this scene to roughness value, for example on we can use that to determine the actual roughness value. So if we have a quick look in the rendered view, this is what we've got. And actually, it's still being assigned to my metal material. So let's salt that now very quickly I'm gonna go taps, going to edit mode and click sign, and then we go into object mode on blended few. So we see him in just a little bit. This is what got so far. If we turn out to a value of one, it's completely 100% rough. So it would simulate a full value one for the roughness and we would go down to minus one. It has absolutely zero roughness, which means the lights that hits will not be scattered in any way. So there we go. We've now got a working, less small slider that we can use. And we can not only use that for the roughness value, we can use it, but of affection. Value Aziz. Well, so here we got value of minus one, which means there's no actual reflection apart from the light that hits it and a value of one which is completely reflective with the environment around it. The last thing we need to do its name, the note groups who will come over here and left. Click on. We'll just name this as the less no slider. And there we go. You now have a less more PBR slider to use in conjunction with any PPR shader is that you're going to use with actual average textures. Thanks, guys. And I will see you in the next lecture