Demystify Redshift Materials in C4D | Derek Kirk | Skillshare

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Demystify Redshift Materials in C4D

teacher avatar Derek Kirk, 3D Instructor-Effectatron & CGshortcuts

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

44 Lessons (5h 12m)
    • 1. Introduction to Redshift Materials: Metals

      1:55
    • 2. The Shader Graph

      8:54
    • 3. Scene Setup

      5:51
    • 4. Basic Metals 1 - Polished Copper

      5:52
    • 5. Basic Metals 2 - Gold

      2:18
    • 6. Basic Metals 3 - Bronze

      2:04
    • 7. Basic Metals 4 - Iron

      2:43
    • 8. Basic metals 5 - Chrome & Retro Metal

      5:40
    • 9. Basic Metals 6- Painted Metal

      7:09
    • 10. Roughness Maps 1 - Using Noise

      16:19
    • 11. Roughness Maps 2 - Noise Variations

      5:42
    • 12. Roughness Maps 3 - Texture Maps

      7:07
    • 13. Roughness Maps 4 - Smudged Copper

      3:07
    • 14. Bump Input - Brushed Metals

      13:30
    • 15. Bump Maps - Hammered Copper

      3:35
    • 16. Bump Maps - Aluminum Foil

      5:28
    • 17. Bump Maps - Molded Overgrown Metal

      7:44
    • 18. Color Controls - Sci-Fi Metal

      6:51
    • 19. Color Controls - Patchwork Metal

      5:32
    • 20. Color Controls- Color Changing Metal

      3:44
    • 21. Car Paint- RS Carpaint

      4:59
    • 22. Car Paint - Create Your Own Carpaint Material

      9:23
    • 23. Car Paint- Classic Car & Pearlescent Car Paint

      4:30
    • 24. Displacement- Using Displacement Maps

      11:34
    • 25. Displacement - Animated Noise Displacement

      3:36
    • 26. Displacement- Cyberpunk Style Greeble

      4:04
    • 27. RS Color Layers- Grungy Metal

      14:00
    • 28. RS Color Layers - Rust

      9:00
    • 29. RS Color Layers - Wet Droplets on Black Metal

      5:43
    • 30. Bump Blender & Curvature

      9:17
    • 31. Bump Blender - Akira's Bike Metal

      3:33
    • 32. Bump Blender- Rough Secret Bunker Metal

      8:57
    • 33. Bump Blender- Distressed Scratched Metal

      2:14
    • 34. Material Blender - Black with Gold Rim

      3:19
    • 35. Material Blender - White with Copper Rim

      2:56
    • 36. Material Blender - Tron Metal

      4:45
    • 37. Triplaner Nodes

      11:23
    • 38. Creating Damaged Blue Steel

      11:51
    • 39. Making Adjustable Texture - Scratched Army Metal

      24:20
    • 40. Rusty Army Metal Part One

      11:43
    • 41. Rusty Army Metal Part Two

      16:10
    • 42. Saving Materials

      5:52
    • 43. My Favorite Resources for Textures

      6:18
    • 44. Your Turn!!

      1:06
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About This Class

In this class we will use the awesome power of Redshift to create over 50 metal materials. Using the Shader Graph we will demystify the Node Editor step by step as we create photo realistic materials from scratch. We will cover a ton of content from Noise maps, textures, reflections, bump maps, displacement maps, etc. Learning how and when to use each piece of the puzzle to create some amazing materials.

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About This Class

In this class we will learn the process for creating metal materials inside the Shader Graph for the Redshift Render Engine inside of Maxon's Cinema 4D (C4D). This class is for beginners and experienced users alike looking to learn how to use many of the tools and workflow tips inside the Redshift Shader Graph in order to create amazing materials. If you are brand new to Redshift then you should first take my Introduction to Redshift: The Basics course. Throughout this course we will create over 50 metals and breakdown many of the most common Nodes and how they work. We start off simple and work our way up node by node. By the end you'll be creating very complex materials with ease.

THIS CLASS:

- We are going to take a look at the Redshift Shader Graph-

-We will go over:

  • Node Editor Workflow
  • RS Materials
  • Car Paints
  • Creating and using Noise and Maxon Noise Maps
  • Using Texture Maps
  • Roughness Maps
  • Bump Maps
  • Bump Blender Nodes
  • Curvature Nodes
  • Ramps
  • RS Color layers
  • Color Control Nodes
  • Displacement
  • Cyberpunk Style Greebles
  • Material Blenders
  • Math Nodes
  • Simple Expressions
  • Saving materials
  • Resources for textures and materials

We'll learn all of that while creating over 50 materials step by step!

-The goal of this course is to get you comfortable with the Redshift Shader graph and have a concrete understanding of what nodes to use and how to apply them to create amazing looking materials.

-This is for people who want to demystify both the Shader Graph and the whole process of making materials inside of Redshift.

-I will be using C4D but the information is not limited to Cinema 4D, it applies to all 3D software that Redshift supports: 3ds Max, Maya, etc. GPU rendering like Redshift is an incredible tool for independent users and teams alike. Many of these workflow tips and methods will work for other renderers but there will need to be some interpolation in order to follow along. 

I'm excited to breakdown how to make some really cool Metal Materials!!

Meet Your Teacher

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Derek Kirk

3D Instructor-Effectatron & CGshortcuts

Teacher

 

Hey, I'm Derek, I love pizza, 80s synth music, crew neck sweaters, my wife Kaitlyn, my daughter Violet, my corgi Lava and God. I've been in video production for 10 years. I am a full time 3D & Redshift eLearning Instructor and Content Creator for Effectatron and CG Shortcuts. I've always loved learning but I love teaching more so. I just want to provide courses that will be fun and informative, and at the same time have a practical application for your work.

Visit https://derekkirk.net/ for more 3D Content and more :)

Examples of My Work

 









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Transcripts

1. Introduction to Redshift Materials: Metals: Hey, how is the going. I'm Derek Kirk and welcome to an introduction to Redshift materials, metals. I've been fortunate enough to have over 10 years in the production field and all kinds of things; videography, editing, live event production, visual effects, 3D animation. Of all of the things I've done, I've found that my real passion is for 3D and special effects. I love it because it combines all the elements of film making and production but from the comfort of my own desk chair. I've been using Redshift for over two years now and ever since I made the switch, I have had no desire to go back to any other vendor. If you're brand new to Redshift, I highly recommend you watch my course on introduction to Redshift, the basics before you watch this class. Because in this course, we're going to solely focus on creating over 50 metal materials [NOISE] and demystify the shader graph. By the end of this course, you're going to create this really cool, rusty army metal whose shader graph looks like someone spilled a bowl [inaudible] I promise you will actually understand what you're looking at and you'll understand each of these nodes because we're going to break down the shader graph and each node, and really take a deep dive into creating materials. The Redshift shader graph is a node style editor, and we're going to go over the workflow for that as well as a lot of the most common and useful nodes available inside the Redshift shader graph step by step. We're going to start off super basic, and we're going to work our way up one note at a time. The skills you learn in this course go beyond metals. I just like metals because they have a lot of range, they look cool, and Redshift renders them very fast. Not only will you learn in depth how to create over 50 materials, but you'll also get access to all 50 materials and some seamless texture maps that I created for you to use at anytime, as well as some great resources to find more textures. I'm super excited, so let's get started. You want to learn the shader graph [NOISE] 2. The Shader Graph : Okay, so first to start off, we're just going to show off the note editor or the Shader Graph editor instead of Redshift to. In order to do that, what you want to do is go down here to Create, then we got a Redshift Materials, Material. We're going to double-click this and you can see you have it over here in this window. You can do your settings in this window. I don't recommend that, because it's confined and you are limited into what you can do. It also takes away the whole Shader Graph and the nodes and that's the best part about it in my opinion. There's two ways you can go into it. You can double-click your material here, and that opens it up. Or you can go right here once you've clicked, this and pops up over here. You'll see this window here and this is where you can name it. We can go over here and say Materials and open up edit Shader Graph through there and that opens this up. What you have here is this shader graph area, which is where all your nodes are. If you hit H, you'll have a ton of nodes all over the place and things are getting crazy and you lose your spot. You are like, "oh gosh, I've lost [inaudible] " , hit H on the keyboard and that will frame everything up inside this window right here. There we go, we've got that. H will frame things up if you get lost in there. It probably won't happen. But just in case it does, H is helps get in. Then you can scroll with the mouse wheel and it will zoom in wherever your mouse is, so you can see things. You can see here we have this Redshift material. When you click this, you show all these options over here. So you have all these tabs and you've got your base properties and you've got all these presets. We're going to go over some of those. We've got diffuse, which is the color or the color information for the device as far as if you want to plug a texture in it has the color or choose your color of it. If I choose by clicking this little icon appeared with this rectangle, you see there's the red. That choreographs to that and that is based on the value of this weight. Now weight, means basically, one is you see it, zero is you don't. If I bring that down to zero, this will go away. If this was red, you'll see our material which is over here, which updates live. When you're not using the IPR render window. You'll see your update here. You see since it's not red, it's at zero, we have nothing there. As I slide this up, you'll see it updates and it adds red. Less red and it's going to mix with black. Zeros is going to be black because it's nothing. We're not going to worry about roughness because normally you're not going to need to use to diffuse roughness. But so what we can do, is we can move down here to the reflection. We're going to focus on metals in this class. All of our things we're going to use are going to be right here in the Diffuse and here in the Reflection. We're not going to use the Refraction/ Transmission. This is for glass and things that are translucent or transparent. Subsurface is for things like wax and scanning things that need light to bleed through and absorb the amount of light as the depth of the object is. We're not going to worry about that because metal isn't involved that or this or back-light translucency, which is almost a shortcut for the subsurface scattering. Basically it's like if you have something like paper, if your objects really thin, this will let a color through with that light. We're not going to worry about that either. That's where this is. Then over here on the left, you see we have our little preview window, which you can actually move. You go up here to View and material preview. You can move it over here. It's over here in the node panel, which is this area. Or you can move it over to the attribute panel if you like that, where you can keep your view over here if you wanted, it that helps you. It's really up to you. Where you can turn it off. But basically here are all of our nodes and this is where it gets really overwhelming, really fast. If you troll these down, you'll see that there are a lot of choices. These are broken up by colors. The way this works is things are color coded in this way. You can tell where things are supposed to be. Normally objects of the same color don't interact with each other except the blenders. You notice you have a whole lot of options over here, and this can be really overwhelming. I'll say you'll probably never use all of these. You might, they're there, but we're definitely not going to use all of these. We're going to focus on things that it takes to make nice metals. Now we are going to use some things from here, things from here. We're going to use stuff from here, and we're going to use stuff in the Math section and the Vector section, as well as stuff and the color section. We're going to touch all these topics here except we're not going to go over lights or environment or volumes. We're not going to need those for this class. But basically the way it works is just broken up into categories to help you keep track of what things are. It's labels to help to identify the purpose of things like normally you have seen nothing else is blue and that's because the output is blue. The output is the only thing. This is the only thing that's actually going to make something show up. If this is disconnected, then whatever you've seen is it fills it with this red and then it turns yellow. That means you actually have nothing piping to your material. You need to make sure you have this connected to this. The way to do that is by this little output here. For say, for some reason that's gone and you're like, "Oh no, I can't just. Why can I? " You needed to click these little red area here or this blue area. These are the ends on the left and the outputs on the right. If I double-click this, that's going to make everything show back up. If I click this, you'll see the only thing a material has as an option for an output is the output color. But on some other materials or nodes. You notice there's this little circle here, and the only way to get nodes to interact with each other is to connect them. What you do is you grab this circle, click and hold, and you'll see it makes this little whip line like a pick whip tool, and you're going to drag it up to either the surface which is where we want this to go, or you can actually go to the blue at the top of that item. It'll give you a list of all the possible things that you could attach it to. Now, we couldn't attach it to the surface because the surface is actually available right here. When it's available in once you to put it in that circle. But let's say you wanted to plug it into something else, like the view port and displacement. These are two things that we might use. Now we've got our RS material connected to our output and you can see our preview of our material has reappeared. Let's bring this back down to zero, so it's black. We can go over some of these presets. We're going to start off super basic. We're going to work our way up and start adding more and more of these as we go throughout each material we create. But that is basically it. What we're going to need for this class is, we're going to go over materials, material blenders. We're actually going to touch on incandescent for a little bit. We're not actually going to use car paint. I'll probably show you, but I actually like to make my car paints with a Redshift material instead of actually the car paint material. We're going to definitely use textures and we're going to use curvature, max on noise, ramps and textures for sure. Then for the utilities, these are things that are going to help to custom attributes and these have certain places where they can plug in. We're definitely going to use the Bump. We are definitely going to use displacement for a few. We're going to use Fresnel. We're going to use TriPlanar. We're going to touch on round corners as well. These are things that we're definitely going to go over in this class. Now there's a lot more, as you can see, a whole lot more things and options you can go from. But we're also going to talk on scalar absolutes, as well as vector absolutes that's what ABS stands for. We're going to go over some color things. The color things we're going to go over are going to be the killer constant, which is a way to create a basic like a color fill layer if you're in Photoshop or something. It secretes a constant color that you can mix with other things. We're going to go over color correct, color invert, as well as color layer. Now that we've gone over what we're going to discuss in this class. By the end of this class,it is going to be branching out all the way back here for this crazy. It's just going to be a million things in here and it's going to seem very overwhelming, but I promise it will make sense,and we're going to go step-by-step. But we're going to start off really simple just so we can get the basics down before you start expanding because it's really important to understand why you're plugging things into stuff and where they go. 3. Scene Setup: Now, I'm going to show you how to get this scene right here, which is really cool, and you don't have to use these scenes, but I really recommend them, this very cool. This is a free to download scene from Rich Nosworthy who is a very awesome 3D artist who uses Cinema 4D. All you need to do is basically, type in "Shader Ball Redshift" on Google and it'll bring you to a C4D Cafe and I'll post this along with the video in the resources. You can either go through Gumroad where you can donate it or donate it as well or through his Dropbox and you will get access to this scene as well as a few materials. This scene is just really nice because it's built for shaders. Shader Ball is just an object that's designed to build materials on. It's basically just to show off materials you used. Once you have this scene open, you'll see that you have this scene here, and it won't come with all these materials. These are all the materials we're going to make in this class. That's pretty awesome. This is where all your materials are going to live. There going to be down here in this material viewport. To access them, you can see, you can double-click them or open them and they update over here, as well for a quick view. If you need to change a few Quick Settings, you can inside of here. If you don't want to open up the note editor, but we most likely are. I'll show you real quick. This is the last material we're going to make. You see, this looks crazy overwhelming, but I promise you that it's going to make sense and you're going to actually understand exactly why everything is going into what and what every part of this is doing, and it's not going to seem overwhelming at all. It's going to be really fun. It's been a lot of fun to make these materials and figure out a lot of stuff. I want to help teach you how to do that along the way. You've got this scene and you'll see, you'll have a Shader Ball and you'll have some cameras and your scene will have a psych and some light setup and your camera's going to be locked, which is good, and that's what this following protection is for. That way, we're just going to go over the Render Settings real quick, just so you know how to set it up. That way, we can see the same things. Once you download that, you're going to want to open up the Render Settings and we'll go down here to the Redshift. Make sure your Render is selected to "Redshift." We're going to go down here to Redshift and our Unified Samples, we're going to go four and 64 with an Error Threshold of 0.003, and then we go down to Sampling Overrides. This is important for our reflection because we're doing metals; reflection is going to be very important. We're actually going to want to turn this up to 512. Refraction, we're not going to worry about. We don't need that to override. Then light is very important. We're going to do 512 with that as well. Now, we're also going to go over to the GI and we're going to make sure we have Brute Force, Brute Force, and five or six Bounces. Inside of this, you're going to want the number of Rays at least 512 as well. What that's going to do is, that's going to give us the most optimized clean renders. The way Unified Sampling works is, the minimum and the maximum are the amount of samples that it's going to put towards rendering your object. Now, the lower the samples, is the lower the detail. The higher the samples, the higher the detail, but sometimes, you get a good result without having crazy high samples. The higher the samples, the longer the render times. By saying a minimum of four, when it doesn't need to use a lot of samples, it is a really good job of not using a lot of samples when it doesn't need to. Then as far as the Max is, 64 is going to be good for all the things we need, but basically, all we're going to need is reflection and light, anyways. What these are doing, is this is overriding both these numbers. This is saying, for any reflections, I want you to use 512 samples. Not four, not 64, but 512 every time you need to do a reflection. The same with light. That's going to be key for our metals. Things like shadows and things like that are going to be getting 4-64 and the Adaptive Threshold is just cleans those up a little bit. The lower this number, the less noise you get in those tiny little spots of shadows and things like that. It's going to be 512. It's got its own thing. This is actually separate from the light samples. This is only going to be the number of rays or samples for your GI, which is where the light bounces off of objects. If you have a white background and a blue object, you're going to see light bounce off of your blue object and hit the white floor and give it a bluish hue to it. Now, we've got that set up how we want it. Here's a quick look at all the materials we'll be making in this class. These are just a few examples. All of these can be infinitely changed in things. It's just really cool. We're going to go step by step making all of these. The first few are going to be very simple, just to learn the basics of what actually is affecting what, and then we're going to start adding bump, and then we're going to start adding Layers and blending things and doing stuff like that. By the end, we'll have a procedural rust metal with a curvature map so that the edges of the Shader Ball will have rust in them, but it won't be on every curve. It's going to be layered so that it only appears somewhat more organically. It's really cool. We're going to go over plugging in texture maps, plugging it using max on noise, all the stuff. We're Going to use noises, we're going to use texture maps, we're going to use all kinds of things to plug in and Layer and create these materials, and they're all going to be totally scalable with a UV, which is really cool. By the end, you'll be able to make all of these materials for you to use. I'll show you how to save them and export them out on their own. I just ask that you don't sell them or give them away for free. I will probably package them together. But since you're taking my class, you can have them for free and use them in whatever you want. Now, that you've got your scene and we've got our materials, we're going to make our first material. 4. Basic Metals 1 - Polished Copper: Now, we've got a blank slate. We are going to go over how to create a few materials here. Let's go ahead and go to "Create", "Redshift", "Material", double-click that. One thing I like to do as I start off if I know what I'm going to make, I'll go over the "Basic" tab and I'll type that in. We're going to make a polished copper. It's actually going to be very easy. You see if you click off of your material, there's nothing over here. So you need to make sure you click that, and that's going to bring this back up. To do copper, it's actually very easy. We're going to go to "Preset", "Copper". You look at it here and the color is just not right, and you notice that a few things changed. We've got no diffuse color still, but our reflections, this "Fresnel Type" here has changed to "Color + Edge Tint" instead of the standard IOR. This is a really cool way to make metals and so, you have a reflectivity, which is going to be the color that is reflected, as well as a "Metal Edge Tint", which is a fall off color for your metal. We've got our BDRF, which is going to be GGX. I don't know what this means except the fact that this is just the way that it calculates reflection. It's just a driver for that. If you noticed, we have a few things that have changed just by switching to copper. We've got our reflection weight all the way up to one, our color is white, which is good. It means if white light hits it, white light is going to come back, which is what we want. Our roughness is 0.15. If you look at this, if I bring that down to zero, you'll see it's very shiny. Now, roughness works in the same way as the weight where zero is black and one is white. The rougher it is, the more high value it is, the less reflective it is, and the more it's going to spread that material, then the way that the light reflects off of it, I'll give you an example. We'll put this on our object. In order to put this on our object, we're going to grab our material and drag it up and plop it on the ShaderBall. Then we're going to go to "Redshift", "Redshift RenderView". That's going to pop up a little window, and you hit the "Play" button. It's going to calculate for just a second, and then you're going to see this preview of our copper. You could tell, looking at that, I wouldn't call that copper. It's like Gold color to it. What we can do is if we go back, we can leave this up and running. We are going to shrink it down. Zoom out a little bit further. With the scroll wheel and you hold "Alt" and middle mouse click to move this around and recenter that. You can actually double-click this over here, and that will highlight this material in your list of material if you have them down here. It will also open up this "Shader Graph" option down here where we can open up this again. We can double-click this so it's not full screen, and let's shrink it down so we can see our material over here. Since we have the IPR going live, when we make changes in here, we're going to see them update here. It's easier to see this than this, in my opinion. As I crank this roughness up, you're going to see that the light no longer reflects. It's not as shiny, so it's rougher. If I bring this down in the middle, you'll see that the light is still shining off of it, but you can't see the clear outlines from reflections from the lights. One thing that is very important is to have a good light setup. You need to have things either in HDR or a studio light setup like this. Reflections are only good if there is something to reflect. You can see right now we've got it on no roughness at all. You can see these very clean edges where the lights are and stuff and everything is a mirror, basically, with a little color to it. As I bring this up to the recommended 1.5, you'll see it gets a little more spread out, you've got those harsh lines, on it's harsh anymore. We're, actually, go up a little bit more. We're going to go up to 0.35. It's a nice, polished look. Still looks metal, but it doesn't look super reflective and it doesn't look matte. Now what we need to do to make this look a little bit more like copper is to go down here to the "Reflectivity", click this "Color" window and that's going to open up a Color Picker. We're just going to make this a little bit more orange and a little bit more red. You've got 16, 71, and 92 here, and so we've got this reddish orange color. We're going to hit, "Okay". That's going to update that, and it already looks a lot more like copper. We're going to grab this "Metal Edge Tint", and we're just going to bring that up to be a little bit more orange as well, not crazy orange. You still want it to be the Metal Edge Tint, you still want it to be closer to the white to get a more realistic reflection. We've got this really nice copper color here. It might be a little too red. So we're going to back down the saturation of that. Yeah, that's a nice copper. Now, we have a nice polished copper and you can play with this, slide this down to get it the way you want. A little shinier copper. I like the way it looks at 3.5. There you go. There's one material down and all we did was mess with this, and we messed with a few attributes right here, and we already have really nice-looking copper material. 5. Basic Metals 2 - Gold: Now if you want to create another material, such as a gold. If you don't want it to start over from scratch, all you have to do is hold "Control", click and drag this over. That's going to make a copy of that. You going to make sure you double-click that. We're going to call this gold. When I name this, gold, it doesn't actually change the material name. I need to show you how to do that as well. All this does, is it changes the name that you see right here inside the shader graph. In order to do gold, one thing is really cool is there's a preset for gold. We'll go to that and it's actually pretty solid. It's much more accurate than the copper one is, in my opinion. If we want to replace that material on our shader ball, we're going to click and drag this until it's over top and you get that little arrow down to the plus sign and when I let go. That's going put that right on top of that and we'll look at this and we'll hit render preview. Already you have this nice gold medal right here. You can see it's pretty shiny. If you want to make that rough again, all you have to do, adjust the roughness and that's going make that a little more matte finish. We'll go probably in between if you want like a nice gold, something that's a really nice gold, like a trophy or something like that. You just play around with these values here with the roughness and you're going to get a really nice result. In order to change the name of this, so we don't start getting these confused even though you can see the preview of them down here. If your preview is not this big, all you need to do is go to view and go down here to large icons. I think the default is small, but I like to do the large icon so I can see them better. You can adjust the size of this by grabbing right here under the timeline and setting that up to make more room. To name this, you can either double-click down here in the name, polished gold, or when you have this selected over here in the basics tab here, under these basic properties, you can name it there, polished copper. There we go. Now these are named. Let's keep going. 6. Basic Metals 3 - Bronze: Again, all we're going to do is grab and copy this over so we don't start fresh. Even though we don't have a lot of settings, so it wouldn't be that bad to start fresh. But we're going to go back to our copper setting here. We're going to actually make a bronze material. We'll bring our RenderView backup, hit "Play". We'll leave that up there. What we're going to do here is we're going to change the Edge Tint again to give it a nice bronze color. Bronze is a little darker, so we're going to get a little more saturated with the red but bring it down. Then for the edge tint it's kind of a darker color for the edge tint. Okay, you'll see nothing's happening here because we haven't applied this material over here. You'll notice this little red box here, this means that this is not up to date. When you have the IPR window open here, it tends to get all the priority over this window. If you want to stop this, this will then update by double-clicking this. Let's grab this and we'll put it on there. Start this again so we can edit while this is live. We'll take a look and you see it's just like kind of a lot darker and I'm going to make the edge tint actually even dark. That's going to give it to kind of this cool bronze-type effect. This might be a little too red, and a lot of it's just kind of adjusting the settings. There we go. That's a nice bronze look. You can see if I bring this all the way up to the white, it's just going to brighten up those edges and make that little brighter when it reflects. I think bronze has a darker feel to it when it reflects. You'll see the difference there. It's just has this dark red kind of effect to it. There you go. Now we've got a bronze materials. We've already made three materials just without even adding anything to these nodes. It's very powerful and we're going to keep making more. 7. Basic Metals 4 - Iron: Okay. We're going to make another material and just for a refresher, we're going to go to Create, Redshift Materials, Material, just to start a new one. We're going to call this one Iron. This polish gold material is actually bronze. You notice that it didn't update. It just looks like it did before we had finalized this project. The same with these preview windows as when this is open, this get second priority so they don't get done. When I pause this, you'll see this still hasn't updated, but it looks different here than it does here. This is correct, this is not. In order to update that, all you're going to need to do is double-click it. When I open to Backup, it refreshes it. Sometimes, you can get confused. When you copy objects over, beware because it might keep the view port looking like you just have the exact same clone of an object, which is why it's important to double-click to refresh them all or label them so you know that their names are correct. Here's our iron material. We're going to put that on here, and we're going to open that up. You'll see the default material is white with gray. The reason we're going through all of these materials is just the best way to learn is repetition. I really want to drive in the fact that there are a few things that determine metals and that's this BDRF, the funnel type, roughness and things like that. Okay? That's going to be the main focus of this. When we say we preset, we could actually go to iron. This is an iron one, very cool. Honestly, that one's really cool. You see, when you think about the iron, you don't think about the fact that it has some purplish blue hue to the edge of it, but when you see it, it actually looks really nice. That's what this middle edge and that's what's cool about these presets is they give you a good jumping off point. If we wanted to make this darker, what we could do are a few things. One, we could make this reflectivity less. Now, it's going to be more of a black steel kind of look, but let's undo that, Control Z. Instead of this, here we go. It's going to open it back up. Again, the roughness for iron is not normally shiny. Iron's a stainless steel kind of look. Their roughness of 4.5, which looks nice. Really, honestly, that's good. If you're just going for a basic iron, that's a really nice clean look. 8. Basic metals 5 - Chrome & Retro Metal: In this video, I'm going to show you how to create Chrome. It's cool, retro wave, funky metal. It's just a cool, colorful metal. Now, there might be some extra stuff down here that you don't have in the other videos you watched so far is because originally when I recorded this video, I apparently bumped my microphone unplugged, so I have to redo it. I didn't realize that till after I'd done everything. Here we are with some extra stuff, but just ignore that and we're going to go over how to create Chrome. In order to do that, we're going to create a new redshift material, apply that to our shader ball, double-click that, and we'll go ahead and open up a render window here so we can see, this first part of our redshifts anyways, you can, it's big. Let's see. You'll get to see that later. A little sneak peek. So we'll shrink this down. Here we go. Okay, so we've got this up. So you can see that. Suppose program e redshift is that you can edit and see your changes a create your material. So to create Chrome, what we're going to do is we're actually going to switch this for new type to metalness. When you do that, you'll see it doesn't look that different. For this, auto save to finish up. The way the metalness works is you have this reflectivity color down here. We're going to switch set to white and voila instant Chrome. Okay, so one thing you'll notice is that there's a medalist slider here with our reflectivity set to white, with instantly got Chrome. That's really cool. But with metals you can up this value, and what that will do is that we'll actually use this diffuse color. By default, this is set to one, and if you actually turn this all the way down, it's still going to use it because the way this works, it's going to use this. So if we choose like a white, it's going to affect the way this looks. That's kind of a nice shiny chrome extra weight. If it said something like red, even though the weight is zero, it's still going to be affected by the diffuse color because of the way medalists works. But for a nice Chrome, you can easily just do a white here or even take this down and just leave it exactly how it is. Ternary reflectivity to white. Maybe roughness zero because Chrome is very shiny and you have a nice shiny chrome material. Easy-peasy. So now a cool thing to do with maleness is tricky compared to the other metals. It's a little harder to control, but just keep in mind the metal this slider is basically the diffuse. Wait a little bit. So if you want to make a cool red metal, we're going to go with our diffuse color and we're going to change it to this cool orange color, and you're going to see nothing's going to happen. But as I increase this slider all the way up, it's going to change how the light is reflected off of this, and that's going to give it this orange tint. Now if we want to make it even funkier, we can take our reflectivity and give it a red color. Then let's take our matalness and bring it down. Let's go like 92 there. With this, let's bring that down like 9090. Okay, and we're going to up this and take this down here we go. So you can see as you like, start messing with this, it's a little hard to control. But you start seeing these little bits here where it's reflecting off of itself, it's turning red. So we're actually going to flip this and we're going to go with the orange down here and the red up here. Now you can see you have this same effect. We can up them matalness. Now you're going to see is majority red versus this orange. But if you start sliding that down a little bit, you can start to create this retro metal look. Maybe we go on, let's make this a little more orange. It's just really a balancing act of between the two. If we made this a little more red, again, we get this cool, we can bring this down a little more. There we go. So that's a cool. It makes thing of like, I don't know if you watch Twitch, Dr. Disrespect. Those old '80s sunglasses that like baseball players are like snow, snow goggles have this cool red orange effect. So you, despite adjusting a few settings for the reflectivity color and the diffuse color when you have a metal this value on, you can create some really cool fun materials. You can start changing that around with a blue and purple and just seeing that. So now you have this cool where it's nice and blue here, but where it's reflecting, it's nice and purple and just a neat, cool, retro way to do that. But again, Chrome, simply white down here for the reflection metalness is zero, a nice simple Chrome, just like Spongebob on the future. Let's move on to the next video. 9. Basic Metals 6- Painted Metal: In this video, we're going to go over just creating some colorful metals. They just have a metal with the color hue to them. Pretty easy. We're going to go to Create Redshift materials, material. We're going to apply that to our shader ball. If I can find it here. Put it on there. We're going to go ahead and open up our Renner view so we can see what we're doing while we adjust it. Click "Preview" and we'll double-click on "Material" down here to open up the shader graph. There's a couple ways you can do this. You can go through and choose different metalnesses and things like that. If you want, you could do color edge tent and start messing around with that. I'll do a blue one. You can mess with the color edge ten of that. See you get this weird effect with the reflections, so I don't like to use the color edge ten for this. Actually, metalness you could use. But again, the reflectivity is weird with that. Anyway that works. If we wanted this to be red, we could up the mentalist value all the way up to one like we did in the last tutorial and then bring the roughness up of the reflection in this red metal, but that's not really probably what you're looking for. You're probably looking for more of a painted red metal. In order to do that, I'd like to just use the IOR. There you go. You see already we just have a much better result. This is what I like to use, and really that's a good red metal from the get-go. It's basically just the IOR, all you have got to do is just your diffuse color appear with the weight. Then you can adjust your roughness here. You've got a nice red metal here. You can go totally shiny. It looks like a shiny red metal obviously and it got more of a matte finish. This is also the same way, like this looks more like plastic than it does. To keep it metal, you want to not go over the halfway mark or the roughness. That looks like a nice metal. But it's really good. Just going to be your reflection roughness that's going to derive the fact that it's metal. There we go, we've got that going on. If we want to do like a black metal, we just go to here, to black. There you go. We've got a nice black metal. You can note just that. The reason I do this versus using the earnestness thing or other things with the color tint and stuff. It's just a lot harder to control. Honestly this, I guess you could use this for a plastic on something, but with the context of your scene, it's most likely going to read as metal. Obviously the shiny it is, the more it's going to look like a metal a little bit. Once you add some roughness and bump maps to this, you can really get it to like metal 35. Put that on an object, I would understand. If the object would be metal versus plastic. I would read that as metal. It's a very easy way and you can just choose your color, that's really it. There you go. If you do a white all the way up, you can do that. We can bring the roughness down. I suggest using 100 percent white normally, because in the reflections are kind of lost on it. But this looks like a nice middle, white middle. Another thing you could do is go to the coding tab here and add the weight of that up. That's basically just going to put a gloss over stuff. If you want to create this matt white paint, but then it's been like gathers a semi gloss on it. Still looks a little extra metal. You can do that. Again, with the gloss, you have a rough this slider here as well. You can adjust the ROI that the gloss reflects it. But we can buck a render this. We take a look at it. That reads as sort of a white plastic. But then when you get to the reflections, you see right here, like, "Okay. Maybe it's metal." It's really just the context of your scene. But that's how you would color it versus using the metalness or the tint and things like that. You can adjust the color of this clear code if you wanted to add. That will take it off book a rendering, but then you're going to get these weird reflections because the clear coat is going to reflect the red. That's what the clear coat color does. The chewed flexion so where instead of reflecting white, it's going to reflect it red. I don't suggest using that RCI. We just stay with these settings here. If you go to something like iron, and we tried to make this white, it's going to be tricky to get there. But you can the same way you can still adjust the colors here and get it. Now you have the reflection tint of metal, but it's extra steps if really you can get the same result from the other stuff. But if there is a preset here, that is the color that the material you want, like as far as the roughness value goes, and you want it to be white or black or something like that. You can definitely use that preset and then adjust the color afterwards. You will get that nice white metal opus. See now with platinum, you're getting this weird color, edge ten, which just doesn't look right. You can adjust these values. They'd be more white down here. Maybe do like a gray here. You see when you start messing with that, you start losing that diffuse weight, those built-in. Now it's not quite as white as it was. Honestly, it's just a lot easier to control if you don't mess with different phenotypes and just stick with IOR. That's going to give you a white metal. Turn the IOR back down. You could adjust the IOR, which is the index of refraction. If you want a certain look, you noticed the platinum was set to nine. Just pretty wild, but you've probably want to stay around 1.5. That'll give you the look you want most likely. There you go. A nice white metal, black metal, blue metal, whatever you want. We just adjust the roughness a little bit. There you have it. Super blue. Set reads as a metal. There you go. That's it. On to the next video. 10. Roughness Maps 1 - Using Noise: Now, we're going to talk about creating some things with roughness maps. If you open this up, if you want to use a roughness map all you going to do is plug something in to this roughness material here. There's a couple things you can do you can plug in a texture or you could plug in a noise, then we have noise and we have Maxon Noise. Maxon Noise is integrated into, I believe three versions, three and up. In Redshift it might be in the version beneath there too, but if yours doesn't have this, there's something else you can use as well besides just Maxon Noise, you can actually just use a C4D Shader, which is underneath utilities. C4D and C4D Shader. Then inside of this, you can choose a Noise Shader and then go into that and you'll see down here it opened up a little menu. This is where you can do everything from all the different noise type sparks, blister turbulence, gashes, snarky, all these puck, all these noises and you have all this control over everything you can use there, and so that's what you need to do for that, using the Maxon Noise. What we can do then is take a texture node, plug this into that and that will create a texture from that. We'll plug this into the reflection roughness. I think its all you have to do. Now if we hit that, I'll need to apply the material now we can see that. There we go. Now, you see you have this natural just where and this roughness like there's been some smudges and stuff like somebody has touched this. That's how you can do that if you don't have Maxon Noise. Now, the reason you would do that instead is because if you need to change it now, you have to go and fix it, you have to go through here and bring it up down here and change it there. Let's say we change this to fire, that's really up the contrast of it, and then let's see if that auto updates. Yes, it does. If you don't have Maxon Noise, you have the C4D Shader into a texture node, into the reflection roughness. The way I did that is I grabbed this pick whip and went to the blue area here, scroll down to reflection, and inside of that is reflection roughness. One benefit of just using the Maxon Noise is it cuts these two steps out, you don't need to do that. Now, if you need to control your noise and things you can just do it right here inside of the shader, so you don't have to go outside the shader to do anything and plug it into a texture map. There's no difference, it's hard to make that clear that this is available in newer versions of Redshift versus older versions. The way that roughness works is you have white values and black values I mentioned earlier. If you look at your noise, if we grab this and plug this straight into the output surface, it'll be able to see your noise on the objects, you can see where that's actually going to be affected. I suggest doing that before you plug it into the roughness map just so you can get a feel of what's going to be shiny and what's not. Here in the black area's pure black is going to be very shiny as if there's no reference at all, and the white is going to be very rough and the gray is going to be not as rough, so keep that in mind. The way that you can play around with that is you can just scroll through these till you get something you like. There's some weird ones, we're going to use turbulence for this one. You see that's going to make that very rough and that's too rough. What we can do about that, let's just drag this over here and move this over here. Now, you can see that while we're working on this and we'll scroll this down, pull that down, here we go. We have all these settings here, we've got cycles, low clip, high clip, brightness and contrast. Cycles is a weird one it's hard to explain what it's doing. It's just changing what's white, it's shifting from being white to black, so it's just shifting the noise around, so that's inverted basically at some points and just changing that around. You can play with that and that get some really cool effects but most time you're probably not going to need that even. Where you're going to want to play with is one the scale, and one the low and high clip as well as the brightness and contrast. Brightness is going to bring the brightness up of the entire mask not just the brights, so everything's going to be brighter or everything is going to be darker. It's going to bring the brights up brighter and the darks down darker. You see how the bright got brighter and the dark get darker, so you have more of a clear line in between the two, so there's less gray and sometimes you want that gray, you don't always want that either. The low clip only affects the darker colors, so the higher the low clip, the more dark there's going to be. It's going to reach a point where once say, you have a gradient ramp from black to white basically low clip. The higher the low clip, the more you're just going to pull this black and pull it over to the right, so more things are going to be black. As I pull this up, you'll see that dark get darker until all of a sudden everything is being clipped by the black. In the same or the inverse really, with the high clip, the lower the high clip, the brighter things you're going to be and so it affects the brightness of everything that way. Let's say it's contrasts but with a little more control, you don't have to go up with the brights and down with the blacks at the same time. You can just go down with the blacks or up with the whites, so you have that little layer of control between the two of those. If we wanted something a little more organic, we have all our noise types here under the type. You can play around there's a time and they are all very fun, and they have their own settings as well. This has octaves, now as I crank this up, you'll see gets a little more noisy and it's a little trickier to see so what we're going to do is we're actually going to scale this down to 0.2. The way to think about scaling with noises is if you scale it down and think of it as getting more higher RES, so there's more instances of the noise along your material, the lower the scale. If we scale that up you'll see that the noise gets much bigger, so it's almost a lower RES if you want to think about it that way. But let's go now to 0.2, so we can see our blacks and our whites pretty good and we have a lot of variation here. What we're going to do is we're going to right-click these. When you right-click these arrows is going to reset everything to default, except it actually just set it to zero and the high clips default is one, so be mindful of that default everything else is zero but but the high clip default is one. If we want to create this texture we want some things to be white and we want some things to be very dark gray, we don't really want a lot of just pure black because we don't want anything to be super shiny. Because if it's going to be that dirty then we are at the point where it was smudgy and dirty, there's probably not going to be any clean places left on it. What we can do is take this high clip and pull it down, we're also going to take the brightness and pull that down. Then we're going to take the high clip and pull it back down a little more. There we go like that. Now, we're going to have these places here, they're not going to be super rough because we took the brightness down, so these aren't pure white. If the brightness is up you see it'd be very white and be very rough. But we still have this nice difference between where there's some places that are very smudgy and some aren't. Majority of this is going to be pretty rough, but not so rough that it's matt looking. We're going to grab this, the output color and we're going to plug that into the surface. There we go. Now you see how this material, and you can tell, see how it's rough but not so rough that it's not reflective at all or very matte. so you have this nice middle looks still, and you've still got some spots that are shiny. That's almost too dramatic of a change for what I actually like. We can either go back into our mask and plug that back in to look at it again, or we can just start messing with it, and watch it live. One thing we can do is actually bring the brightness back up. Things do get a little more matte and you can tell. Now we have this matte look that has some smudges on it. I don't like that as much. We're going to take that back down. We're going to just bring the high clips back up, and then the brightness back up. There we go. You can see as I just to low clips to the more black there is. So if I bring the blackup you see it's gets less shinier and you bring it down, it gets less shinier and now we can start playing around with the cycles if you want. That's just going to mess with the way that looks. So now you we have this cool, almost like a puddle look on it is wild and unpredictable at this point when you start messing with cycles, things just get weird. But that can also be fun at times. I like this, but I wanted to be a little less of this pure black. Now one way to do that besides messing with it in the output, is actually messing with the colors here. So basically the range it works is based on these two colors. So we're using black and white because that's the default and that also is what affects the roughness. Black is zero, white is one. So if we want our blacks to not actually be zero, all you have to do is grab this and pull that up. So pull it up to about 16. Maybe you'll pull it up a little more and if you pull that up to, up here in the grays you'll see those places that were very black are now not as black. So that looks pretty nice. Let's bring the high clips down and then we'll take the brightness back down to zero. There we go. So now we kind of have this cool look here. Again, the higher you bring this up, the less difference there's going to be between the two materials. So for quick reference, let's plop that in. So here's what we've got in the third, these values reset to default and this gray. If you take this down to black, you see we have more of a range. We can do the same with the white and take that down to gray. So let's do that and then bring up the brightness of the whole thing. Then the contrast just a little bit. Then as far as the scale goes, let's back that back off to about one. Maybe 0.5. Let's keep going down a bit. There we go. So if I bringing the brightness back down and the scale up a little bit, we have this more natural smudge where there's not so many small points that were black and stuff and so another thing you can do is it just the scale of the y or the x, the y and the z, which we're not going to do this but we will use that later. So here we are with a black, gray turbulence, a 0.5 scale. We have this nice thing and we've got our brightness as default to zero and let's take the contrast backup just a bit. Just a little bit more. There we go. I like that, but let's say I don't like this noise exactly. What you can do is change the seed and these are random seeds and this is just going to change how the noise is generated. So it's going to be a different look. That way you can have the exact same setup, change the seed and it won't look like the exact same noise. So you can have the settings where you like the variation in the colors and stuff like that. So let's take a look there at that and let that render. Another thing you can do for rendering when you're doing textures is use this right here, this render region. That's going to create a little box and it's only going to render inside that box. So if I want to see what the final render is going to look like while I'm an IPR mode, let's bring it right there. I can hit this little boxes right here, these buckets, and that's going to bucket render this. So this will actually be your final image and what it looks like. So you can see now that we have, our material looks pretty nice. It's nice and rough. It's not too dramatic flipping that scale down. You'll start to see more of a dramatic difference in the noise and the smudge is secrecy is kind of got this noise on it that way. So we're going to bring that back up and we're just going to do the contrast just a little bit more. You see this can update, there. So now you can I have these nice natural organic looking reflections. So normally it would be a super sharp line if we didn't have this in there. If this roughness is zero. So you see it's totally shiny here, this really sharp line from where that light is being reflected. But we bring this in here. It's going to take that and this kind of disperse set out with the noise texture and just give it more of a organic look to it. So that's just one easy way you can use noise to create just a little more organic looking metal that has some imperfections that aren't super obvious but aren't not visible either. So let's say we want to take this and just do it a little bit more. It's a little bit more roughness. We're just going to bring this backup. Split the difference. Let's bring this up to the here and let's bring our blacks up to bet there. Bring our contrasts back down. So we had a lot of different looks there just with one noise and one roughness map. So right now what we have if we hit render on this with the bucket render. I'll make this bigger so you can see it easier as it renders? You see, we just have this nice looking roughness that's not perfectly even across the whole thing and there's just a little bit of differences. You can really tell it here on the edges. Or it's just not evenly rough across. So it's just a very minimal change in the way it looks, but it's just enough to take it to that next level where it looks a little more real. So there we go. 11. Roughness Maps 2 - Noise Variations: We are going to learn how to make a copper smudge using textures. We've done reference maps with Maxon Noise and just to show you a couple more noises and just how crazy these can get, what we can do inside of here is you can actually hold this in the little yellow area here, and you can do this with any of the nodes. Hold it and hold Control and drag and that's going to make a copy of identical settings. Now we can plug this in. We can start messing with stuff, so if you get one that you like and you don't want to undo, you can just keep it there for safety and try experimenting with other noises. I like to do that. Let's plug this back into the output real quick. See you get some really bizarre looking noises here. We can do one like this one here, the FBM. Let's bring the contrast upto that. That's going to probably look pretty nice. We're still in the bucket rendering mode. Let's grab this and plug that in to see what this looks like. This is a little grungier. Its a cool, organic looking mess on illustrative black rendering off, just so we can see what it's going to look like a little faster. So now it just looks like it's just gotten wet or something, or it's got something weird on it. So it's really nice. There you go. So you still have that, but if you decide you don't like that, you can just grab this other one that you had, that you liked, plug it back in. This was a lot more subtle and this one's a more dramatic. So depending on what you need, you can obviously play around with noises forever and just go back and forth. I don't know how many times I go through and just scroll through these things. You can use the scroll wheel just to slide up through this and just get different noises that look differently. Each one is totally fine looking. Now Box Noise is fun. It's not good for organic stuff because it's very boxy, let's say 0.1. It has this weird box effect. I'm not really sure what you would call that. But we can do something like that, crank the contrast up on it, and you'll get this weird, almost like you did a rough camo on something. It's a neat effect as well. You can play around. There are all kinds of combinations of things. There's one, I think it's called stupl. This is the one. There's one that's really bizarre, it's not stupl, So if we choose Mod Noise, you get these really clean squares here. This is a good instance of where you can use low clip and high clip to do things and make those very distinct from one another. If we plug that in, it'll provide this really bizarre, striped finish. This one might look cool on a texture. That's neat. Another thing we could do if you plug this back in, if we choose Poxo up here, we now have this unique texture. If you go to 0.1 and make that real small, you get these little bitty things like this. What we can do is just bring this back down, just a little bit, so there's a little more dramatic. Bring the low clip back down, so there's more of those. Now we have this really grainy look to it and we're going to bring this back up, so it's not so dramatic. We're actually going to go even smaller, 0.05. Then we'll go even smaller. We're going to 0.01. Very tiny, very tiny. So if we plug that in like that, it's going to give you just this nice speckly look. Almost like there's dust on everything. Like dust is just gathered on the surface of this object. If you think it's too shiny and you want to use this dust, but you want to have this dusty look but not have it be this shiny. Again, all you have to do is grab your color down here and pull that up even more. There we go. Now our object isn't as shiny, but we still have this dust cover on top of everything. So you can really tell it here in the highlights. Now we've got this nice dust look on top of everything. So this is a neat way to do a bunch of materials. Later on I'll show you how to combine these noises, so you can have multiple things. You could have it be smudgy, but also have this dust look on it and really start creating this really cool, realistic looking materials and things, just with noises. But next, what I'm going to show you is how to use texture maps for the roughness. 12. Roughness Maps 3 - Texture Maps: Here we are with our default material. What we're going to do is to add a texture for this. We're going to go over here to textures. There's a couple of ways you can do this. You can grab a texture map, pull that in, and then up here you'll see you have the image under the general tab up here. You can see the path, and this is going to be where you're going to choose your file. You can click these little dots here. Then you can open up an image. Is fingerprint smudge that I've created in photoshop, which I do plan on doing this Coursera course in on how you do seamless textures. The reason I mentioned seamless textures, because it's very important. If your texture is not seamless, it will not tile correctly. What I mean by that is basically the way it works is when you have some UV mapped, it creates your image and you tile it so that it covers the entire image. The image repeats over top of the object expect back to back. If it's not seamless, you're going to have these very hard edges where you can tell where the image is repeating and it's going to not look good. You're going to be very easy to tell that it is a non-seamless texture because it's going to have a very hard edge and you can tell where it repeats. But when it's seamless, it blends those together perfectly so you actually can't really tell where it repeats near as easily. Now I've added this smudge map in. The reason I created this image map like this, you can see there's some white and there's some gray and then there's some lighter gray smudges. It's because grunge roughness maps need to be black and white like that. That's going to determine, like we discussed, how the brightness and the roughness is used. We're going to grab that texture map, bring it down here, and we're going to plug it in to the reflection roughness. You're going to see it updates here. Just so we can see this a little more dramatically, let's make this black. Now you have these cool smudgy material. This got fingerprints on it. Like somebody's got their hands all over it and stuff. This will be really good on glass. Things that people like, easily see fingerprints on, stuff like that. This works with any rough this map if you want it to be something else, you can google roughness maps. I have a section of video later that just as full of resources for all these things that one you can pay for, which opens up a window for a lot of stuff. Then to a lot of free resources that I like to use. I'm going to give you, these maps that I've made so you can use those for free. That where you have those. There are a lot of fun to make, I just figured out how to do it. I'm planning on doing a class on that because it's actually very simple to use. Now that we have this texture, what I mentioned was that there are two ways to create a texture map. You can grab the node over here. Again, if you, I don't think I've mentioned this. If you need to search for something, you can type in texture and it'll filter it out by the search field. If you needed something to do with noise, you spell it correctly, it will filter out to just the things that have that in the name. That's very useful, instead of having to twirl down all of these, you're going to texture map, type in texts, and here we go. Texture maps right there. If I didn't want to grab that, pull that in and then load in the file. There's another way you can do it. That way is to just open up your explorer. Or even actually if you just download the material from Google Chrome and it appears at the bottom like you just downloaded it, you can grab that and drop it in. Let's say I've got my materials here, and I want to use this as a texture map, let's use this one. We're going to grab that and just drop it in. It's going to go ahead and create, it's going to ask you this question. You can turn this off in this setting somewhere. But basically what this is asking is if you want to save a copy of that image into the scene file where you're saving this project. Instead of like searching your computer to find where this image is, is going to make a copy of it, put it in your file project. You said you can't do that if you want, I don't recommend it. One thing that definitely you don't want to do is when you're using something that has an animation set, which we can discuss really quickly we're not going to use those, but basically if you have something that's going to link an image sequence and you say yes on this, it's only going to bring the first one in. It's not going to bring the rest of the sequence. But if you leave it where it is by hitting "No", it will know to find the rest of those sequences. There you go. As I drag that in and it created the texture node for it, even named it what is called drag that into the reflection, roughness. There you go, it has put some smudges on it and you can't tell it super clear. One thing you can do is actually adjust these within the texture node. You can adjust the gamma, you can adjust the scale, even adjust the color offset if you wanted to use a texture node for the diffuse color or something like that. By adjusting the gamma here, which you can do, you check this box. That's going to reset the gamma to one. We're going to put it to 2.2. You see this is going to brighten, are dark and everything. But if we bring that down to below, you're going to see everything gets a little more darker and it's just really it just into gamma of it. It's not really the best way to color correct your image. But if you have an image that you know the default gamma is a 2.2, which is very common when you download PVRs and 3D scans and stuff like that. You can set it to that. We don't need to do that, so you can just uncheck that. But let's say it's not as gray as I wanted it to be, I wanted to be a little less shiny. One thing I could do inside of the texture node is just go to adjust color offset and bring that up to gray. There we go. Now you can see it's a little rougher. If you bring that all the way up to white, you're going to see that made the whole thing a lot brighter and a lot wider. It's like blending a color layer onto your objects. If you brought that up to the integrase here, now we have this nice smudgy material. Now we've got a texture we can use that we've adjusted to our liking and plugged into the roughest map, we've got our output. There you go. That's how you can use textures with roughness maps. 13. Roughness Maps 4 - Smudged Copper: Let's apply that to make a nice smudgy copper look. Let's go to Create red shift material. Open that up, go to copper. Adjust our colors a little bit. Let's apply this material to our object. Open our render in window backup and we'll look at this. Now if we want to make it nice, smudgy copper look what we can do. Now we have this nice copper look, it might be a little too pink. Let's take this back and make it a little more orange. Now we have this nice copper material here. Let's go and use a texture, and we're going to drag that. We're going to use a texture that I found online. Now we are going to use a texture called effectatron smudgy, and we are going to apply that to reflection buffets. There you go, that instantly turns this copper into a more of like copper hardware type handle that's been handled a lot and just has a little dirt in oil and stuff on it. Now it looks really nice. It's a really nice clean metal that all we did was apply a roughness texture to it and instantly, it looks a lot better. There we go, and again, we can adjust the contrast and things by doing the gamma if we want to. Just by adjusting a few things, you can really get a lot of very different looking materials. There we go, such a nice smudgy copper. 14. Bump Input - Brushed Metals: In this video, we're going to talk about bump maps. Bump maps are really cool. They're a way to add some depth to your object as if something is stuck to the surface or the surface is chipped away. It's not like it just displacement where it actually moves a geometry. It's more of a fake displacement. It's based on the reflection of things and it's going to be able to fake it to a certain extent and make it look like it has some bumps and some depth and stuff in it. When in reality it's just a texture and the geometry is exactly the same. A lot of video games and things use this because it's a lot easier to render and when you start doing this placement, the calculations and stuff get a lot more complicated. It's a nice way, if you don't have a high poly model and stuff to actually displace it. You can fake a lot of depth and roughness, with a bump map. What we're going to do is we're going to take a polish gold and we're going to copy that. Slide that over here. We're going to apply that to a material here, and we're going to make a brushed gold. Let's turn this on, open this up. What we can do is start combining the things we've learned a little bit. Let's add some roughness to this before we mess with the bump map. Let's say I want to add just a little noise to it, or reflection roughness. What we're going to do is we're going to bring the scale of this down to 0.3. I'm going to change this to, that's a very funky one. We'll do about like that. That's pretty nice. Which is going to bring the high clip down a little bit. Make it a little more evenly. You rush we what a matte, gold Look. There we go, we've got that. Now we can leave that where it is. What we're going to want to do is type is use a bump map, so we can type in bump map or under the utilities tab to pull that down underneath bump. What we have here is bump blender and a bump map, we're going to use the bump map right now. In order to give your object bump, it has to plug into this bump map. Let's grab a texture. Now bump maps come in several different ways. You can use a black and white texture, which is going to be used as a height field of which I'll show you. We'll grab this texture here, and we're going to plug that into the bump map, texture input. You can see here, the bomb map menu, we have input type of height field, tangent space normal, and object-based normal. The two-year probability is most are these two. I like height fields, because I understand like white to black, black is going to be the no elevation from the surface and white is going to be what should be elevated as far from the surface as the height scale indicates. Like the rough is map where black is zero, white is one. But the tangent space normal, those crazy purple and green ones which work just as well. They're very nice and if you have Photoshop, you can actually take any image and go to the 3D filters and export and save out a bump map or a normal map, which is what the tangent space normals, those purple ones are called normal maps. We're going to use height field because this image is black and white, and we're going to drag from this bump map, click it into the Blue here, there's nothing that says bump map here, but you're going to go down to overall and the bottom of the overall list, for some reason is the bump input. I wish that this was just here, but it's down here. Click that. You're going to instantly see a change in our object here. Now our object, it looks really rough because this material that we applied is very dramatic and very scratchy. Instantly you see if provided this cool texture look now even though nothing on the geometry is changed, it looks like pieces of this are raised up and pieces are lower. Let's go ahead and grab this and bring to locate blackout so it's shinier again. You'll see when it's reflective with the bump map is going to be really crazy and it's just going to really affect the way that the light reflects off, that's for the bump map does. This hard to look at, but let's say springs back down. We've got bump map on here, and if we say that's too much, that's too dramatic. You can lower this down like 0.1. Now our bumps are going to be near as dramatic and it's just going to look like there are just some wear and tear on our object here. That's pretty cool just to give a damage like this, almost like a sand blasted gold material. This works on all materials, not just metals and things, so just bump map into that. You can also do negative, which is basically like an invert. Everything that was just raised up is now going to be dented in, everything that was dented in will be raised up. Now it looks like it's chipped away rather than having little pieces that were sticking out. Those pieces now look like they're stuck in and everything else is sticking out. That's a bump map with a texture. Very neat, very cooling. It's a really cool effects. Lots of grunge maps and stuff, easily make an object look, filthy. But we're going to show you how to use a nice brushed metal look. What we're going to use to do that, we're going to take this off for just a bit. We're actually going to remove that and we're going to make this a little more roughness, there we go. Nice, clean, fresh, never been touched material. We have our bump map here, we're going to grab max or noise or the C4D here within noise into a texture map if you don't have this, and we're going to plug that in and go texture input. We're going to make sure it's still on high field. I'm going to set this back to one, as the height field here, that means it's going to be black and white. As long as we keep it in those values will be fine. We're going to take this noise and we're going to plug it in, so you can see exactly what we're doing. For a polish brush look, we want something that has a little more variation to it. Let's go with [inaudible]. But this doesn't look like a brush metal. The way brushed metal looks is all the everything is going in just one direction along our object. That's why we're going to mess with our scale here. The scale is different, the overall scale, this scales all three of these, x, y, and z uniformly. This is going to scale them individually. If I take this scale and I set it to 100, you'll see we're already getting some stretching there. Now take the z and I said to 100 and now we've got these lines are just wrapping around or object, what I can do is start messing with this. Clip those a little bit like that, then let's bring the scale down so we have even more lines, there we go. Bring this back up like this, bring everything up. Keep bringing this up. We don't want to make the lines to be that much bigger. There we go, bring our contrast up. Now we have this nice striped look. Let's bring it up a little bit more. Everywhere where it's black, is not going to be raised up, and everywhere that it's white, is going to be raised up. Let's see just real quick, now that we have these scale setup, let's scroll through these textures, these noises just to see if there's anything. It will work a little bit cleaner than that. That had a little more variation in it than I wanted but I also could solve that simply by going here, and changes to gray, and changing this to white down to a gray. I don't want a ton of variation between them. There we go. Now we have a grayish material and there's some black and it's just very striped. If we take this and plug it back into our surface, you notice our object now it looks like it has scratches going all the way around it and that's way too intense but we're going to take our bump map here and we're going to put it at 0.05. Even that is still pretty intense, and that's because of how dramatic and white our noise was. Just keep scrolling down, inside of this until it's very subtle like that. That's a very nice clean brushed matte look where at 0.01. Let's go back up to like 0.018, and thus provides this really nice brush look that we're used to noise. We didn't have to have a texture, anything. We just have a noise and we're just going to make it this nice brush look. We can do the same thing, it looks really nice with like steel color. Change that to iron, now we have a brushed stainless steel look. That's just a really cool way to create this brush metal look along your object. There's some other controls in here and these I'll go over. We have a re-map section here. This is old range max,old arrangement, new arrangement, new range max. The way this works is basically, this is the range that it was, the default range, like the range the zero should be versus how bumpy it should be. This is just a way of amplifying your bump map a little more control inside your height field. Basically it's like it's adjusting this height scale. It's saying if the old range is zero and the old range max was one. I say the new range is now negative two is going to say, well, what was zero which means it didn't, wasn't affected by the bump, is now actually being affected negative two by the bump, and if I say what was affected one by the bump as the max is now going to be affected twice as much from the bump. If I raise this up, it's now saying but wasn't affected at all, is now being affected. It's just a way to fine tune what's actually being adjusted by this high film. Now we have this really nice matte look and one thing we can do is just take this number and put it down even further and make those even tighter little lines. There we go. If you don't like exactly where these are lining up, you can just change the seeds and that'll shift those around. There you go, there's a nice stainless steel or gold or copper wherever you want to use. Just by using a noise and adjusting the scale of the noise with the bump map to create a brushed look. There we go. 15. Bump Maps - Hammered Copper: Now, I'm going to show you how to use Maxon Noise to create a hammered copper look. It's really cool. We can use a Noise. Plug this into the Bump Map, except if I go over here and plug in the Bump, it's not going to work. It's going to change it a little bit, but it's not going to work correctly. In order to work correctly, as you see it's turned red here, you need to use a Bump Map node. Remember when using Bump, you have to plug things into the Bump Map first and then into Bump Input, and that's going to change that. What I want do is I want to plug this noise into the Surface, so I can see what's going on. I'm going to choose "Voronoi 1." You see you have this nice, spotted look already by changing the scale down to 0.1. What we're going to do, is we're going to start messing with the Cycles here. We're going to bring those up to about 1.6. We're going to bring the Low Clip up just a little bit. We have this kind of fun, pointy circles all over our object. If we grab this and plug this into the Surface, now we have that plugged in the Bump Map, you'll see we get this really bizarre looking object, almost like raindrops stuck on it. That means is that our noise is not set up correctly. Let's take your "Cycles" and pull those back down until we started seeing almost a dented copper look, a hammered copper. Leave that out. We up the "Contrast" a little bit, and we bring our "Cycles" up just a bit. We're going scale this back up to 0.2 because those are too tight. Just sort of get the overall look right, so we can see that. You can see once you started cycling it, it starts repeating itself a little bit. We do that 0.1. We're going to go to our Bump, and we're going to lower that down about 0.25. There we go. Noise, Cycles 0.4, Overall Scale 0.1, Voronoi, which we can change the Octaves. We can do a lot. We could change the Seed, if you don't like the way those are falling on there. If we wanted to look more like that, you can do that, as well as adjust the height of the Bump. Let's say 0.5, see what that looks like. It's a little more dramatic. They're hammered in a little harder than they would be on a hammered copper look. Now, just with the Maxon Noise, a Bump, into the Bump Input, you automatically have this nice hammered copper look. You apply that to a bowl or something, you got a really nice hammered copper bowl or a mint julep, Moscow mule mug. There you go. Pretty cool way, just use Noise to make naturally occurring things very fun. 16. Bump Maps - Aluminum Foil: Another example, we're going to make aluminum foil with this one. With aluminum foil, we're going to need a new material, and we're going to go to the aluminum preset. Here we go. We're actually going to take the roughness down because I'm not sure, the foil is pretty shiny. We're going to see once we add the noise and the bump map to this, it won't look this shiny. What we can do if we grab these, and move over here, so they're in view there. We can add a bump, important, and then we're going to add a noise. Plug that into the input of the texture of the button up here, and this goes into the overall bump. We're going to take our Maxon Noise here and we're going to change the type to Pezo. Already we have almost a really nice aluminum foil look. We're just going to mess with a few settings here. We're going to go about 15 octaves, just so there's a little more bump to it. Then we're going to bring the low clip up just a little bit, so there's a couple of places that aren't crinkled, and we'll bring the contrast up just a little bit as well. Too much. There we go. One thing I want to do is I don't like how evenly dispersed this is, so I want to introduce you to ramps. Under the Texture tab there's something called a Ramp. We're going to bring that in, and that is going to be able to give you a gradient. What you can do is use a ramp to color things, to adjust the values of things all kind, they're very useful. We're going to do this, we're going to plug this noise into the ramp, General Input input, and then this output color into the input of the bump map. What we want to do is now that we're driving through this ramp, which you want to make sure your source is set to auto or alt, most likely if you're using a texture map or a noise, you're going to want to use alt. But auto works as well and you're going to make sure you're mapping is vertical. Now there are things you can do like invert it, which will instantly swap this black and white which would swap the noise from your plug-in or texture, or your noise here, swap the values so now everything that was up is now down. You also can add noise to this. That's just going to break it up and make it all wild. We can take the noise amount down. That's just going to make it a lot more noisy. The noise is only affecting the ramp here. It's saying, imagine this is really noisy in here. But we're going to get rid of that for now because we don't want that. What we have down here is a black to white value. Basically because we're driving this into this, that means everything that was black here is represented by the lower end on this ramp, and everything that was white here is represented by the upper end of this ramp. What I can do is make things more dramatic by sliding this black up or by sliding this white down. I also can change the color, so that there's not as big a difference between the two. Let's say I make this a dark gray, and we'll take this and we'll bring this down to a lighter gray. It's now we can bring it so that there's more dark gray up, or we can say bring this down so there's more light gray. We're going to click this and we are just going to make it a little bit brighter. There we go, we've got this nice, crinkly aluminum foil look and we can mess with the seed of that if you don't like the way that looks. There we go. We've got a nice aluminum foil material there. Spacing this ramp just to adjust some settings and this is going to be more useful as far as coloring things and stuff like that, but it's just another way to visualize messing with brightness, contrast and clipping, things like that. You can really affect the overall output of something with just a ramp very easily to tweak in S curve effect on your object. There we go. There's nice aluminum foil. 17. Bump Maps - Molded Overgrown Metal: I'm going to show you how to use noise in various ways. We're going to apply it in the diffuse color, we're going to apply it in the roughness, and we're also going to apply it for a bump map. We are going to create this overgrown molded look on this iron here. We've got our iron material that we created earlier, and we've copied over. What we're going to do is we're going to go to noise, Macs noise. Again, if you don't have Macs noise you can use C4d shader, and go into the noise settings in there and have exactly the same controls here. We're going to go [inaudible]. We're going to plug this into the output here and that looks pretty good. We're actually just going to clamp it just a bit. There we go. But we're going to change the color of it to this weird, funky, nasty, moldy green. I'll actually just swap that. I just click and drag to swap or to drag a color on there. We'll go through the gray like that. Then we're going to grab that, and we're going to plug that into the diffuse color. If I plug that into the output, you'll see we don't have a lot going on there because we don't have any weight in our color here. We're going to pull that up and you can see there's just some little green in there. [inaudible] and do this. Actually, I'm going to make this color black. There we go. You tell there's not a lot very visible right now, but that's okay. We'll fix it. What we're going to do is we're going to grab this "Control", click "Drag", make a copy of it. Change this to be sort of a nice light gray and this to be a light white. We're going to plug this into the roughness map for the reflection because there's going to be old and moldy and gray. It's probably not going to be very shiny. Here we go, not quite that much. Say Cancel. There we go. We've got this nice gray values. We did that at 75 percent and 81 percent to get this nice look here. Lastly, we're going to use a bump map, and we're going to grab this again. Now we're going to add a bump map, click "Drag" into the blue corner, texture in put, bump map into the blue overall bump. Now we should have the same noise on all of these. Up that green a little bit. Here we go. You can tell this does not look very good, but what we need to do is go in and adjust the scale of all of these. We're going to say 0.05 and 0.05 and 0.05. Instantly it's going to change into this overgrown, moldy metal. We can adjust the scale of this green to be a little more. But you really want them to be about the same. So by 0.07, 0.07, 0.07 this roughness is to be just a little [inaudible]. It's up to about 77. Here we go. Then you can just change the seed of all these. Lets say to 250, 250, 250. This is going to provide you with a different look. You just got this cool, overgrown, nasty mess growing on your object, and you can adjust the scale 0.5. It looks like mass or turn it up. It's even more prominent to about two. There we go. We've got a nice overgrown look with just noises. That's pretty cool. You can use noise to adjust the color, the roughness, and the bump, and make some really cool things. You can combine all these things to make really cool things. As far as controlling colors and things like I showed with the ramp earlier, there is also more ways to do that. We're actually going to start using color correctors and color layers to create more control and fine tuning things and start mixing colors together in the next video. One cool thing I thought of just after I finished doing this with this overgrown texture is the fact that you can actually animate noises and attributes of this. If we wanted to, we could add little animation speed and your noises will actually move and stuff, which is pretty neat. We can do that, but we can also animate something like the low and high clip. We'll start with it like this. Which is barely anything there. With low clip, we'll hit record, will slide up. 100 friends will bring this down, and we'll bring this down to the point where the whole thing is just overgrown with green. Now if we play this back, which it might be a little slow to render. We're just going to render a little box of it. Maybe it'll go a little faster force. You'll see it's just going to grow. This moles is going to grow and grow and grow on there. Next thing you know, it's overgrown, are covered in mold so that those pretty fun idea for some, that some of these cool things you can do with noises and stuff like that as animate them. Now this course isn't going to talk a lot about animation much. It's mainly about making medals, but just want to show you a little quick things that you could do with that, pretty fun. 18. Color Controls - Sci-Fi Metal: For the sex material, we're going to show how to use a really cool program called JS displacement to create some cool sci-fi looking materials. Let's start with the black metal, and then we're going to open up JS displacement, which is free. I'll link where you can download it. You'd have these really cool gribble looks. Inside of this program, when you just click stuff, you have all this control of all these back on elements and different packs and settings, and it'll just generate a seamless, gribble texture for you. It is amazing. Here we go. We've got this one. Let's do develop. I think though it's a little trickier. Let's do just classic, and then on, and we've got all these colored boxes and lines. It's really cool and very sci-fi. Let's just save that, and we'll call this 1-use greeble. Let's get this out of the way, and we're going to open that up. Slide that in here. Say no, and we're going to use that as a bump. Plug into bump, takes your input and then plug that in to the overall bump, and we're going to take a look at what that looks like, and you can see right away that it's got this cool, glibly, crazy texture on it, and the bump map almost like a dark Death Star, and so what we're going to do is we're actually going to copy this material. ''Click and drag,'' and we're going to plug that into the reference map. But first we're going to use an RS color. We're going to go down here the color. I'm going to use color invert, and we're going to plug that in to this, and what that's going to do is everything that was white is now black and everything that is black is now white, and we're going to plug that into our roughness map. Now, we have this cool patchwork look, and then for a bump map, we're actually going to invert it as well and do negative one. Those cuts and things are going to be going into the object and not the other. But beyond just using this color invert, we're also going to use a color correct layer. We're going to plug into this color correct layer from this color invert, and put that in the input, and then put this output back into the reflection roughness and nothing's going to change because we haven't changed anything yet. But, if I wanted to start tweaking the gamma of this as if and the roughness and the contrast of this, so you can just affect the way that looks. We don't have to use this color inverts or anything to correct. I just want to show off just what these do real quick. If you see if I plug that straight in, it's very reflective and you just have the little things being, as the roughness maps a little wires and things. But if you wanted to invert that, go to the invert channel here, and it'll invert that. Then, but if you wanted to tweak that even more and fine tune, basically the color correct, offers the same things and a little more control as the adjustments here. You have some gamma here so that you can adjust here, but you can also adjust the contrast and things like that in here. We can up the contrast of this and really start to get a unique, very different look. Lower the contrast and lower the gamma a little bit, and we'll get this nice sci-fi inlay in our objects roughness. It just looks like it's been printed out and a nice sci-fi metal look that you could put on a floor or a wall or an object or something that just gives you this cool techie vibe to it. Just like that, I just want to show off the color invert and the color correct before we start using them a little more, and then we're also going to go over using a ramp to really mess with the reflection of this. What we're going to do, is we're going to turn this off real quick. We're going to duplicate that material, we're going to plot that on our object here. Open that new object up and we're going to turn it to white, up here almost white. Hit render on that, and you'll see we have this nice sci-fi white material here. This is just got this cool gribble vibe on it, and for this, we're going to choose a different texture, and we're going to unrender this because sometimes it can lock up if you upload a large texture like this. We're going to choose one that's a little more square. We're going to go with this velvety, this classic one js classic. No. Update this one. Classic. What they think, and then we're going to hit render on that, and there we go. We get a more tricky vibe from that. We're going to delete those maps there, and we're going to use a ramp instead to color this. If we plug this straight in to the reflection roughness, you'll see it doesn't really affect it too much. But, if we plug it into a ramp first and then into the roughness, we now can start adjusting this and adding contrast this way. It's exactly the same as using a color curricular except now we're using it a different way of visualizing them, and we have a little more control. 19. Color Controls - Patchwork Metal: Now we're going to make a cool patchwork metal look. We're going to start with the preset of aluminum. We're going to grab a gribble texture that I have provided for you, is called skill that JIPEG. Here it is. We're going to grab that in there and just drag that in. Will get rid of this old texture here. We're going to take this and we're going to plug this in to the reflection roughness. You can see there gives it a cool look to it. What we can do is we're going to hit a bump map here. We're going to plug this into the bump map as well. You can have a node attached to more than one thing at once. You can have a texture map that's driving two different things, so go to overall bump. If I make any changes to the texture map, it's going to change both the bump map and the roughness map. I'm going change this to negative one. Then I don't like the roughness map as much I want to tweak it just a little bit, so what we're going do is we're going to use a ramp. We're going to plug into that, plug this into the reflection roughness. If you don't like cables crossing over and things like that, you can drag this attribute and pull it down below to clean that up. Now we have this ramp, we can start sliding this and adjusting how that works. Now we can see if you pull that all the way up, we're going to get more objects that are shinier and less. We can start just fine tuning what's reflective and what's not just by sliding this around a little bit. That's pretty cool. We've got these little squares and stuff that are reflective. We can also swap that by inverting that. Then we can slide this back the other way. We could invert that by right-clicking in this ramp and saying invert gradient and that's going to take it and swap it the other direction. Now we can crush that down so that only those little squares are rough and everything else is shiny if you want. But I like it the other way, but just like that, you've got one texture that is now controlled to create very different results just by using a reflection roughness map. There we go. Then we can move this around. If you want to offset this, is to move this around because it's seamless, we can do that. We can type in something like 50 and 50 here. There you go. I just wanted to show off real quick how to use ramps and color corrects and inverts and things like that. Even though they can do the same things, they also have more attributes. Like if I wanted to take this color here and go to Color Correct, and grab our texture and plug it into that, and then take this and plug this into the diffuse. Now take our diffuse color and add the weight into that. We might need to change this. I can start shifting the hue of things. No. It's stupid. You can get it. There you go. We can, of course, adjust the color of this. Keep black, turn it up, go back to our color edge mode. Bring our reflection down to more black. Now we've got a cool sci-fi. We can really tell what's shiny and what's not. Given another really cool, just nice techie look. Just with one texture map, you can control the bump, you can control the reflection roughness and you can change it. Say we didn't want to adjust the contrast and stuff in this texture because then it would affect the bump map, we can use a ramp or a color correct, something like that to actually adjust it specifically for the node that we want that to go into. That's the purpose of that. That's pretty cool looking. 20. Color Controls- Color Changing Metal: One thing I wanted to show up real quick with the JS is placement, is that you can actually colorize this as well and it'll give you a cool little coupled choice of gradients you can choose from. Then you can save the colormap and then close this here and we'll save color. We'll take that and we plug it in. I'll show you what you can do with the color correct layer inside of that. That pop that in here. We'll plug it into the [inaudible]. Just make sure we apply this texture to this, the color on there. Let's take a look at that. There it goes and I can see, and it's really fun, cool colored texture there. If you want to just change that is a little bit. Instead of this rotating into Photoshop, which all are very possible choices, you can do a color multiplier if you just want to make it all more red, you can just add a red to it, but you're very limited in what you can do by that. What you can do is actually use a color, adjust color correct layer. I drag this into there like we did earlier and plop that enter the diffuse. Now what I can do is actually adjust a hue shift. I can actually start changing the color of this object is going to shift the hue, which is the color, to whatever we want. Now we can think that's a cool color. We can also take the saturation down so it's a little more gray scale. Or we can pump it up. You can add some contrasts back into it. Takes a contrast hourly like that of the game a little bit. There we go. Now this is another way that even though our material is like red and very limited, what we could choose from that program, if you don't have something like Photoshop or something like that to adjusted or you just want to play around and adjusted on the fly. You can definitely do that and the benefit of doing this is let's say we wanted to animate this. You can, so we can see here at the start, and we can keyframe this, and we can go here later. We'll change this down keyframe that. Now as we play, you'll see it will actually just start changing colors so you can make some really cool eye color changing effects and things like that with that. You can do that with just a regular diffuse color and stuff. We're not going to deal with a whole bunch of animation because [inaudible] just changes colors, passes along the timeline there. This course is going to talk about a lot of animation, but you can animate any of these features that we have here. You could animate noises, all things. Noises, noise path that we've been using these Macs on noises we've been using. They all have the option to be animated as well, which is really cool. Journalism need trippy looks and stuff like that. But with metals most of growing and middles won't be growing. But we could use that for the overgrown effect. Anyway. It's going to shut that off. It's another use of the color layer and that really cool free plug-in called JS displacement. Next, I'm going to show you how to do car paints. 21. Car Paint- RS Carpaint: Now I'm going to show you how to make some car paint. We're going to go "Create", "Redshift", "Materials". Now there is a car paint material. We can look at this, but I actually don't like it as much as just making material the other way, but we'll show off what the car paint can do. It's really good for a really quick, that's car paint look. That's totally fine and it's really nice. What it has that is different than a normal material, is it has this edge fall off and it has this premium color and it has a nickeled metal flakes. It's really cool. This is really, really neat. You can see the glossiness in these flakes and these specs. We can't really see them. We can up the density of them. You can start to see a little bit. We really want to see them in these reflections up here. There we go. If I scale those up. For these flakes, the easiest way to see them is to scale them up. Let's scale them up so we can see these flakes and you start to see there's these little objects here. We're going up the density, so we can start to see what those look like there. They're a little tricky to see. It don't quite feel like flakes enough. Basically, this is acting like a funnel. You've got this pigment color and then the falloff colors, so you can make these nice pearlescent looking looks on a car. If I made this a little more green, it will probably look funky, but you can see the edge fall off, it's going to be based on the color. Then you can do the weight of the color, so that it's more red and then the curve factor is going to be based on this. This is basically just a slider that's choosing how much of the edge fall off, how far around it's going to wrap around the object. It's really low. It's going to really wrap around it. The only thing that's really red is right here in the middle, but if we slide that up, you can see it's going to tighten that backup to be closer to the edges. It's really nice and really cool. There's a lot of options here. You start getting into the funnel controls here, the curve feature. This is pretty intense as well as you can go on here in the middle flakes. Honestly, these are pretty nice features, but they're not quite as easy to control as something in this, the rater material builder. We have clear coat here as well on top of all this, and the clear coat has a funnel control. This is a really nice, quick way. If you want to come very simple, nice car paint, let's go with a gray. Good, nice silver. That's very nice. We could go with a dark, if you wanted to be like a gun medley, like a darker Grammy. Typically, done this. There you go. You can do some really nice cool things. Now, one thing to keep in mind is that the glossiness map is the opposite of the roughness map. Instead of the roughest mapping, zero to one, one being very rough, it's the opposite, glossiness map is zero being really rough. Take down the weight of that, of the way the base layer. Here we go now. We can start to see those flakes coming into play here. A little bit, not really though. That's one way to do car paints very easily. Just pigment color and the edge fall off color and you get a nice look, but if you want something that's just got a little more of a modern, more controllable feel to it. I'll show you how to do that. 22. Car Paint - Create Your Own Carpaint Material: To create a car paint material not from using the Redshift car paint, but you use a basic material. One way we can do that is go to custom and we will go down here to this change to [inaudible] and we change this to metalness. We'll take this reflectivity, we'll bring it up a bit. What we're going to do is we're going to use something called Fresnel. You can type in Fresnel, or it's located underneath the utilities over here. Fresnel is right here underneath the utilities. I'm going to bring that in. This is basically like what I showed you with the carpet material, the edge fall off. That's what this is. We're going to use Fresnel and a ramp. Pretty much doing this is the same as using the car paint. I'll show you a few things why I like this more than the car paint, but really the car paint is a very good option to use for car paint as well. We flick our Fresnel into this Ramp and this ramp into the Diffuse Color. Let's plot this on our object here. Bring our window up. This is a yellow material with a red edge fall off from the car paint and this is the same thing from this Fresnel and this ramp. It will fall off. We can adjust here, which we'll be able to see more if we do something. You can see as I bring this ramp down, I'm going to tighten up and do that edge fall off control where I made it wrap around the surface more. The options you have here inside this Fresnel are: the Curve Falloff, the Facing Color, the Perpendicular Color and the Index of Refraction. One thing that's cool is we actually can control these features just by plugging it into the ramp. If I choose this black color and I say I want it to be red and we want to very red color. Here we go and we want this wrap around color instead of being this white, which we're going to bring back a little bit because it's wrapping around a little too much, we want this to be a cool dark red. This is intense. Let's de-saturate that a bit. This is very saturated, looks like a maroon. There we go. You can see you can adjust this ramp by sliding these colors around, changing them, as well as adjusting the way that the gradient ramp is, basically like a curve value. This will mean there's more of this color and then all of a sudden it'll go off and become the other color or the opposite, which should be more of that color and then all of a sudden becomes the other color, to tighten up those curves. You can make the fall off a little more by bringing this ramp down. That's pretty cool. Let's do a nice dark, almost black. Then let's do almost white. Let's make it just a little brighter, a little more gray color to this rather than this dark. There we go. That's a nice common car color. I feel like a nice shiny in a car. What we're going to do now, you've got that plugged in, we've got our Fresnel, our Ramp, that's it. That's all we have done. Basically we've changed this to metalness and left it at zero and the color is driven by this map. Now what we want to do is add a m-axon noise. Once again we use Maxon noise. We're going to actually plug this straight into the surface. From the noise, we're going to choose cell voronoi. We're going to use this one here. What we're going to do is we're going to scale this way down like.001. We're going to get all these little flicks. I'm going to bring in low clip up just to make that a little more dramatic contrast of a bit. There we go. We really want this to be some contrast between these little tiny flicks. What we're going to do with that is we're going to plug this into the reflection roughness. We're also going to take it into a bump, plug that in. So we're going to plug this into here and we're going to lower this bump way down to about 0.01. We might need to go even lower. One thing we need to do is change the color for this reflection roughness. Now we could copy this and just change the color of that, which is what I'm going to do. Or we could add a ramp, or we could do all kinds of things. Right now because our roughness is so rough, we actually have this Terracotta clay pot look. It's actually a really nice powdery texture. I like that a lot. Or concrete, something like that. But if we copy this, pull this up, copy control and click, plug this into the reference map, adjust this so that there's more black. Let's bring this white down. Our roughness was a little too high, at 0.01 we had this clay look, but a 0.001, we can now have this shiny metal look. But if you notice, we'll do the inner region here so you can see. The reason I like this versus the car paint is because this makes the flicks easier to see. By using a bump map and this noise pattern, you actually can get this nice look that looks like that spray paint gloss that you get from a car when they use the mechanical arms to spray paint a car and it's very even. But when the light hits, it's just right, you don't see these clean reflections. You see sparkle on a few pieces before it goes elsewhere. You just have this nice sparkle effect right on that. You can adjust that obviously by adjusting this. You could add less the sparkle, more the sparkle. Now you have this really nice car paint that I feel like just has a little more flicky value to it. We can adjust this just a little bit if you want to scale this up. So you see is I scale that up and a scaled it up too big. Just a couple of noises and a Fresnel. You can choose your car paints. This is a nice modern gray car paint. A nice silver. If you wanted to be a little more reflective, we can mess with the reflection map or we can go down here to metalness now and start turning that up. We can get this clear cool, nice metal look that also looks like it's been spray painted or some sealant that's been applied with the spray mechanic like that. 23. Car Paint- Classic Car & Pearlescent Car Paint: If you want to do something that's a little more like a retro car, all you need to do is change the color, and to change the color, you see you change the color in this ramp, like I mentioned earlier. Let's do a nice classic car color. How is circle in there is to you? Blue, and that's super intense. A little to metal and part of that is our metalness value, so it's going to go in here and just turn it off. There we go. Then the second half of the ramp needs to be a little bit more like this. Even darker maybe. There we go. Let's bring that in. I want that dark wrap ramp. There we go, now we have a nice classic car like you could put an old Corvette or something. Just for the few simple changes and things like that, and you can always adjust this to be even less dramatic by adjusting this and putting this down. It's a little less dramatic. Even more subtle if you want. Or you can do the opposite and make it more dramatic. Now the upgrades. Then if you've already something really cool, like a nice pearlescent car paint or something like that, same thing with the ramp, we're just going to take it. You'd use something like a pink, like a purply color, and swap that which is really cool, deep purply blue. There we go. Then we'll take this. We're also going to turn up our metalness, and we're going to check our reflectivity and match it with that dark blue, I think. There we go. We can change our reflection to a gray, take our metalness down a little bit, and go back to our ramp and really cross this down. The blue starts to creep in there, and now we can just fall off up here. There we go. We can add that cool pearlescent look. After a while I landed on this pinkish purple on this blue. I slid them down so that I had this nice blue reflection edge along the side of this. You can do the same thing with the carbon material. I just want to show you how to do it with the ramp. You can have this cool looks when the light hits it, you'll see it change colors. You know those cars as in, when they drive by and almost looks like it's changing colors, this will be that, that color effect. That is some car paint. She've got moderate car paint, classic car paint, and this fun pearlescent paint. Now, we're going to go and talk about displacement, which is pretty cool one we're going to talk about making some grumbles really quick, and how to displacement some works in the material letter as well as in the verge of scene. 24. Displacement- Using Displacement Maps: For this video, we're going to go over to displacement and how that works. We're actually not going to use a shader ball for this because when you have object with damaged geometry and an image detail already built into it, a lot of times displacement can cause it to freak out and not look perfect. I'm going to show you how it works on something like a plane just so we can really see the effects of it really clearly. What we're going to do is we're going to create a new scene and we're going to go down here and we're going to click ''Plane''. We're going to type in 100 and 100. You can see our geometry here. Now the key to this is that we're actually going to use a redshift tag on this and that's how you do displacement. Like normally you would go and add it. There's a surface to this and then you go over here and the modifiers and add a dis placer. But we're actually not going to do that. Redshift displacement is actually going to be a lot faster because we're going to be able to keep our geometry in our viewport and actually on our object a lot lower than it would need to be with the displacement of subsurface divide and a subsurface divider. It's actually going to be able to calculate this and render it a whole lot faster. Really cool, we'll create a new material here, we've got our default material. I'm going to up the roughness to about 0.4. We're going to apply that to our object here. I'm going to open that back up and we're going to add to displacer. In order to do that, we're going to need to type in displacer, it's under the utilities here, displacement. Here I'm going to use a texture map. Now I've used that JSdisplacement material or JSdiplacement app that we used earlier to create a object here. I use the JSdisplacement app in order to create this material here that we can use this texture. We're going to drag this texture and we're going to plug it into the displacement and under the texture texture map. It's the same as height map for the bump, you've got black and white values determining the height and the lowness of it as well. Displacement actually doesn't plug into the material anywhere, it actually plugs into the output. You plug this into the output, now on the output you see it has a displacement option here. We're going to plug it right in there. If we create a light real quick, redshift lights, area light. I'm just going to scoop that back a little bit, I'm going to pull it up, rotate it around, and tilt it down a little bit, make it a little wider, then I'm going to take the value of the intensity and turn that back down to like five. We've got our object here. What we're going to do is we're going to go up here and we going to hit "Render View", and we're going to hit "Render". We're going to see that nothing happens at all it's totally flat. That's because displacement only works for the redshift object tag like I mentioned earlier. If you right-click your object, you go down here to redshift tags, redshift object tag, plop that on there. Then we've got our geometry tab here, which is important to go. The geometry tag, you're going to want to override that. Within that, we now have this tessellation option and this displacement option. Tessellation is exactly the same as subsurface division. It's like adding this modifier to your object except it won't do the calculations in the viewport or in the scene, it only does it when you hit ''Render'', it can free up your viewport to be a lot faster and smoother. You actually have to have the geometry on your object to perform nice clean displacement. What we're going to do is we're going to turn on tessellation, that's like subdividing this. Even though it's a 100 by a 100 and now it's going to be maximum subdivision of six. Imagine applying subdivision divider with the number of six to that. Normally that would be a very high PolyModel and it would slow down your viewport and rendering very quickly. The next thing we're going to want to do, is we're going to want to turn on displacement. We're going to check this box. You can already see there's a little bit going on there. It just looks like a bump map. We're actually just going to spread out this box so we can see it a little bit more. It just looks like a bump map. The difference between a bump map and displacement map is that the displacement map actually moves the geometry around. What we want to do to increase this is we're going to do two things; one, we could go in here in displacement and start upping the scale of this. I actually don't like to do that, you have more control down here with these numbers so displacement scale and maximum displacement. This displacement scale is like a multiplier of that number and maximum displacement is the actual value that white objects are going to be the highest to this displacement value. If I say 50, it's going to take this all the way up to 50 if I allow the displacement scale to go up to 50 as well. You need to keep these two together a little bit. Now you can see we have this object, it's actually a displacement. We don't have any geometry change and you see no viewport, everything's totally flat. We actually have this nice geometry where it's all raised up and this really cool gribble effect is going on. We're actually just going to change this to white just so it looks a little cleaner. Just a little bit. You can see we've got this really cool effect going on where our scene, it actually looks like we have geometry modeled up. Its looks like it has been hard surface modeled, it has all these little details and things like that. All we have on here is a texture map and a displacement. That's it. We've got this really nice-looking scene. I'm going to turn this light up to about ten real quick. I'll just select that up a little more. You can go down here, you can get low. The tricky thing is that it actually doesn't reflect in the viewport what you're going to see. It's a guessing game as far as like where your camera needs to be and stuff for this, so you really need to have this IPR preview window up. Let's say I wanted to add an object to my scene. Let us cube real quick. I want my cube to sit on top of my displacement. If I sit it right here on the surface, you can see it's actually clipping through because there's some stuff here that's actually being raised up. If you wanted that to sit right on top of your displacement, you would need to go in here and look at it and slide it up until it's actually about the right height. You have to guess where it is, but you can also figure out where it is by these numbers down here under the redshift tag. But it's always good to double check just by moving it around. Let's get rid of that. We'll add a dome light real quick to this, just to add a little extra lighting to this, so dome light, unless you're using a HDR. I'm going to use Greyscalegorilla. You can download things for free from HDRI Haven or anything. I'm just going to do simple studio from Greyscalegorillas. Did not mean to go into thumbnails. Divastudio and take a ring light. I'm just going to add that extra light around our scene here, there we go, dome light. We're going to lower the exposure, this is too bright. Here we go. Now you can see we have this really detailed cool texture with all this geometry going on and we actually haven't modeled a single thing, we've just used a texture map to create this. You can already see how you put this on the side of a ship or a wall or a sci-fi and like instantly you have this really techie, very detailed look to your scene. Things to notice is if you get a texture map that has super high detail, like little bitty things going to start freaking out. Let's just take a look real quick just to show what I'm talking about, we're going to turn off tessellation. You'll notice when you turn off the tessellation, you lose a lot of detail, because without that we're only using our 100 by 100 squares here. That doesn't provide it enough detail to actually create those sharp edges, the detail of the texture map is too intense. What we could do is go on here and start upping this to say like 400 and 400. Automatically you're going to see your scene is going to slow down because the higher your geometry is, the more intense it is, but you get a good result here. Let's say we go 300 by 300. That's pretty good. It's not great detail, but now if we go back and turn our tessellation on top of that, we're going to get really crisp, very nice to sharp hard edges here. I'm actually have this really nice cool texture and that's great wall. The thing to keep in mind is that's more detail that you can get on a bump map or something like that. You can still go in and tweak your texture map and things like that to really create different looks. Oops. If you go into our texture map and let's say we want to apply a ramp to this to just add some contrast or you could do a correction or any number of things. We can plug this into ramp input and then the ramp into our displacement map. Let's say we just want to crunch this down to make it more dramatic. Really opposite direction. Crunch it down this way. Here we go. You can see we're starting messing with what's gray and what's black. You get different effects just by adjusting the contrast between your texture maps. Really neat, we've got this and you can still layer things like scratches, bump maps and things on top of this, as well as colors and things like that. Very neat, very awesome effect. Look at our scene, look how detailed this is. Our scene is literally just a plane with a tag and a texture on it. This is our result. That's really neat. One thing to keep in mind is that when you do use this and the tessellation, one trick you can do is in the render preview, there's this little snowflake here. What that does is that, that freezes the tessellation. If I stop rendering and hit "Render" it's going to extract geometry, then prepare the ray tracing hierarchy, and that's because it's going to make it calculate that displacement every time and the higher these numbers, the longer that takes. But if I hit "Freeze Tessellation" then is going to bake that in a little bit, so it speeds that out so it doesn't take as long to calculate that every time. 25. Displacement - Animated Noise Displacement: The cool thing is if you have something that has a height map, that displays a map and you have it, actually an image sequence, you can animate this stuff. It's moving. You can use it to do, it doesn't have to be greeables, they can be noise or something like that. If we go in here and we get rid of this and we use a noise. We go in here and we get rid of this and we use a noise instead. You'd get the same effect. You don't have to have agreeable image. That's just a really cool way to get a nice sci-fi look. You can see we are using this placement and a noise. We're getting this crazy, crazy mountain shape. We can start messing with what noise type we want to do. Let's say we want to do cell noise. Now we have this really cool cubes, all these cubes that are just floating up. Let's say we want to animate this. What we can do is we could just say animation speed one. Now what's going to happen is, if I hit "Play", you're going to see, un-check that box there, things are moving around. It's hard to tell because it's rendering so fast. But if we jumped from say, here, we'll let that render a little bit and we hit this plus sign here, which is going to take a snapshot of that. You've got these really cool little boxes here, but let's say you want to just do cool abstract background. You wanted this to move around. We could do an offset or we could start messing with the seed or the octaves, student animation speed, could do all kinds of things. Just mess with the cycles. Real quick let's just show off. Let's keyframe the offset here is zero. We'll go up to 90 and will offset it 10 on the x-axis. It should look like it's just flowing to the right. It's going to be hard to tell what's going on. What we're going to do, is we're going to let this render a little bit. We're going to hit this plus sign here. This can take a snapshot of where that is. We're going to go further down and let that render just for a little bit. We're going to take a plus sign shot of that. You can tell if we swap back and forth between these two objects, is we have the beginning and then further down. You see they're different. You're going to have this really nice animated background or just infinite cubes and stuff just with. The combinations you can do with this is insane and how fast it renders displacement is ridiculous. If you wanted to add, and that's subsurface dividers and then it just placer modifier onto your object, it would take a lot longer to render. Redshift really lets you just crank these out with really nice detail and everything with very few assets in your scene and very low calculations on your computer and the viewpoint stays smooth the whole time. Keep that in mind. The higher the polygons in geometry, the cleaner it's going to be, but you need to find that balance between using tessellation and actually having that geometry in your plane as well or your object. Really cool, really neat, nice dibble effect. 26. Displacement- Cyberpunk Style Greeble: You can see really easily, you can have this really nice cool setup shot here and then you can add some lights and things that have some color. Let's grab this light and zoom out here above you, and we'll grab a slight hold control and move that over, we'll rotate there real quick and rotate that around just a bit. Choose the color of that, and this isn't a learning tutorial. You can really check out some more learning stuff in my introduction at Redshift class, but let's just say we want to add some cool colors to this. This in blue, I love some blues and some purples. Then we'll add a redshift camera, and we'll add a target distance like here, and we'll say lets Bokeh to this, Bokeh, Override, Enabled. Then we'll do the focus distance. This will go to objects. Focus to since click and click. We'll probably say a little less than that because it's going to be raised up a bit. So real quick, let's take a look at what this can look like. With just some colors real quick added, I quickly added in some depth of field. So already you get this nice looking space. That's really cool. Let's turn off the dome light, and this back light as well. It's now we've already got this really nice cool city effect and we can turn the lights on these up, so we get a little more power from them, and there we go. Now we have this really cool, just sci-fi looking, intense, cyber punk techie, metal. Really cool for like DJ Vijay stuff or things like that. So instantly we have this really nice image and we get up to depth of field to be even more bokeh real quick. We'll say power, we'll set that to three. When you're dealing with Bokeh, you actually have to adjust the settings here, and you can let that render. There you go, in just a minute and 20 seconds, I upped the samples of a lot of stuff just to get a cleaner image for the different field and everything. You have this really nice shiny dark metal with this cool blue and purple look on it, and we've modeled nothing, but look how detailed this is. This is really cool way to fake, like awesome modeling so you can find that, and then one thing I like to do just because I think it's cool cause in the settings I love global. So if you can't tell, I am going to turn the bloom on and lower the threshold of that bloom and you can see boom, instantly get this really nice glowy look. You may love the intensity of that, it can be flares and things if you want. Which should be more, and those [inaudible] some lights in the scene, but we could use streaks. So now with some bloom, you can really get this nice cool glowy effect, and you're seeing this now we've got going up call the cyber punk, look like imagine doing a couple tied to this and you can put it on, put these effects on text, things like that. They don't have to be just planes is seen to be. I suggest the flatter the model with the less detail the better, but things like text fronts and things like that. This could really just up that. You can do some really tight shots, your text or your logo, and then zoom out and reveal it with all this detail without having to model all of it, you can just do a few texture maps. So a really cool I just want to show that off. Let's go on to the next video where I will show you how to use RS color layers, to start blending things we've learned together. 27. RS Color Layers- Grungy Metal: In this video, we're going to go over color layers. Now RS color layers allow you to combine multiple textures or noises or images into one thing, like in Photoshop where you can blend things second overlay or additive things like that. You can layer these things together so that way you're not relying on one texture map for your thing. You can start layering them together and you can start to build on each other and complement each other to really make a really nice organic looking disruption or color or something like that. First, we're going to go over just how to add multiple layers of roughness. First thing we're going to do is we're going to go create, spreadsheet materials. Double-click that, plop that on, and I always say plop, but I do plop that on there and we're going to go with something like, lead, will do lead. That'll be fun. Now what we're going to do is if we say, we want to add a texture. Let's go ahead and grab one or more seamless textures that we have. We've got these scratches, plug those in. Then we'll open that back up and we will add where's my roughness maps here we go. We'll add these smudges here. If you look at it right now, basically, we'll say yes, we want to put this into the roughness map. But we want these scratches to be in the roughest map as well. When I try to connect them both, it doesn't let me, you don't know, it lets one node per node. The way to do this, is to get an RS color layer, RS color layer. We take the texture of one and we'll put it in the base, this one because I want to be a little more dominant and the second texture, the scratches, we want this to go and layer one color. Now when we plug this in to a reflection, then map. Now we have both these textures and we'll swap these because that's kind of hard to look at. We'll go ahead and open up a runner windows so you can see what we're doing, it's a greeble. You see the greeble on a material like that's kind of funky. Okay, here we go. We've got this look right here, and this looks like it's primarily all scratches and that's because our color layer. We have Layer 1 being always set to one and the blend mode is normal. Basically what that means, is it means that Layer 1 is on top of it. Like if you're in Photoshop, this is on top and it's set to normal, so basically this is just overriding everything that's underneath it, it works the same way if we had seven materials here, if the seventh material was set to layer. If we had seven materials here and all any of these materials mask where all the way up to one and our normal, they would dominate the other things. Okay, and they would work in this order actually from top to bottom, so let's change this. We can do two things. One, we can lower the mask and as we bring that down, you'll start to see that other layer comes in the view, the more I bring this down, the more it's just that other layer. For this, let's make this a little more dramatic and a little easier to see, let's take this layer and let's just put a ramp on it so we can kind of see it a little better. We'll put this a random ramp, and put input and then that ramp into the base layer. Right now since we're just doing the base layer, the base color and our layer color is set to zero, is basically the same as if you turn it off or if we plug this straight into that. We're going to plug this into this so we can see what's going on here and we just want to kind of bring this down like this, so it's a little more dramatic. There we go. Okay. Now if we plug this in here, you'll see a rough this is a little more obvious here. So we've got these smudges on here. We've got that and we've got this texture and we can't see the scratches now. So if we want to add the scratches back in, we start doing this, that's going to overwrite the other material so that when this is set to one, it's saying it's not just adding it onto it is same. If you put this and 50 percent, that's like okay, 50 percent of the power being applied to the reference map is from this material, 50 percent is from this material but what we want is actually for both of these to kind of be added equally, so a way we can do that. We want all of our base color to be there. So we're going to set this to add, and what that's going to do is that's going to add all the wide value is basically the way eye works, it's like it works with a screen and just the different blend modes all work the same as they do in something else. If you're not familiar with that, there's lots of resources out there for it but basically add is going to take all of your light values, everything that's white, and just add that into the existing materials, so our second material, since it's white and black, purely black, when it adds the black onto the base color, it's actually not adding anything to it but if we had like a gray material and it adds that it would actually add that gray to whatever gray is on the base color before it, then you'd have marble white and they were actually compound on each other. But if you have a material that has black and then you can add it so only the things that were white or gray, will be added to the previous layer. Then there's stuff like average, which will kind of be as if you split it 50-50, but we want to do add, we can do subtract, which would be anything that was white is now going to be subtracted from whatever was in the value of the first layer, since you see all my scratches that were white are now cutting out of the white of this other value, but where that other map had black, there was nothing to subtract from, so it added normal white, it only works where they overlap. We're going to keep it an add, there we go.The same thing can be applied with a bump map. Bump map, if we wanted to take this and plug it into a bump map, we can, so now we can mix those textures together to create a more dynamic bump as well, which this is going to look weird because that first the material is very intense for a bump map. There you go. Now you see, you have bump from the scratches and bump from the other smudgy material as well. Let's say we wanted to do this differently and we didn't want the base material to be in the bump. All you have to do is plug your other texture in down here. Now we're excluding this first layer and so now you can see if we set this as negative 0.25 where the scratches would be actually cut into the metal. We get this really nice, smudgy dented in metal. I think this is a little intense, so we're going to spread that back out. I spread it out a little too much. I need a 0.1 and so there you go. You can start combining materials. What we would have normally is we'd either have the option of this ramp plugging straight into the reflection roughness, which if you look at that, you can see this is what it looks like with the bump and then to combining these two, we get a totally different look. But because the bump and the second layer are actually the same, it's not going to be that different. But if we had something else plugged into the bump, you're going to notice that, see I accidentally plug this into layer one mask. I'll actually makes sure I plug this into layer one-color which disappeared out of lists, so generally, one color, there we go. Now you can have this cool combined smudgy metal look. It got scratches and then you can come in here with another roughness map or something and just start. But say this doesn't really look that great because the scratches should be in the bump map. We're going to plug the scratches into the bump map and we're going to bring in another texture in and actually use that to mix into this RS color layer. Let's go and we're going to add this one to fingerprints. Yes, and so we're going to take this material and we're going to plug this in to layer one color. Now, you'll see it starts blending those two together. Our bump is still really intense for some reason. I'm actually going to shrink this down. There we go so the scratches are smaller. Now we have this really smudgy cut-up texture that has the smudge from this effect, and this smudge from this effect. So if we want to see what one effects is doing over the other, we can set this to normal. You can tell this is all that the fingerprint smudge is doing. It's adding little fingerprints on there and stuff and then if you want to see what the other one is doing, you can turn this off and that's going to be from our other smudge map. Now we've combined these two smudge maps, set this to "Add". It's going to really roughen it up, but let's say we don't want to roughen it up, we want the fingerprints to like subtract from it or something. You could try and multiply, you could try screen, you can try lighten. Lightened screen and add are all pretty similar, but they have just little subtle variances and how they're calculated. Burn can be pretty cool to create some effects. We're going to go with average. That's going to split the difference between the two. Let's go ahead and just render this out and take a look at what it looks like. Now to me these scratches are way too intense. I'm actually going to take to scale these down to 0.1 and 0.1 and see what [inaudible] see what that does. That's going to make him way bigger, that's what I thought and they are too big. Let's go up to 5 and 5. They're real small. Then we're going to take a ramp to this, plug this in here, plug this down here and we're just going to change this wide value to more of a gray. Just to take the intensity of that down. They'll be scratches, but they will only be as deep and intense of a scratch. Then our layer we're actually going to set this back to Add and then bring it down to like 70 percent. There you go now you've got our fingerprints smudge on there, you've got a different smudge on there, and then you also have scratches on there and you can do the same thing with this into a bump map, but there's actually a better way to do that and that's using the bump blender rather than using an RS color layer and plugging a bunch of things into that. Because the way bump maps work, they actually need multiple bump maps plugging into a bump blender for all of them to actually calculate. That looks pretty nice, pretty fun, very neat and then you can offset and multiply and choose different materials and things and really just start to combine things and now you've got a very different material. Than you would have if you just had one texture or the other texture in there. So now you can combine those two to really start adding things together. It's really good for like footprints over top of a dirty word and things like that, scratches, and scallops and things like that. That's a really cool material right there. Next we're going to show you how to make rust with the same technique. 28. RS Color Layers - Rust: We will create a new material, apply it for plot. We'll take this, and we'll say Noise. We're going to go in here, and change the color of this noise to like a red, deep red, and the dark Turkish faded orange. And we're going to plug this into this material. Like that's going to take the roughness to the rust, does not have any reflection. You can't really tell the stark contrast difference on this material. Let's go ahead and make this a little more dramatic, just so we can see what's going on here. We're going to change this to turbulence and we're going to up the contrast. Here we go. Now we're going to lower the scale of this to 0.1. There we go. Now we've got this mucky looking color. Actually don't mind having the black in there. That's not that bad. But let's say rust has a few more colors in it than just two when we wanted to do something like that. Let's go ahead and just duplicate this and we want to just do an offset of these colors, a little less saturated there, a little brighter, more orange here and so now we're going to do an RS color layer. We're going to plug this into the base, this into the color layer, this into the diffuse color. Set this to average, change the seed on this one. So they're not right on top of each other. Now we're going to lower this down a bit. I want more than black in there. I can try something like multiply or something like add seed and cheesy objects to this one too. It's a little different and start messing with this slider bit. You get it nice. So there're multiple colors there. I'm actually going to change this red to be a little more orange. We go. I've got some dark, we got some red, we've got some orange, we've got some lighter orange and that's really nice. Now let's make this have a bump because that's what's going to sell it as rust. We have a nice rusty color here. I'm going to grab this noise again. But we're going to go back to black and white. Red shoes for noise. We're going to plug it into the output, so we can see what's going on. We want this to be very tiny, tinier than that even so 0.01, like that and the contrast spring that down. There we go, something like that. Maybe just the brightness of it. There we go. Let's plug that into the bump and that bump into this material overall bumping, put plug on material back into the output. Then let's take our bump and let's turn it down to like 0.2 and then we're actually going to invert this wide at the top and black on the bottom. There we go. We're going to make this even smaller, 0.001. There we go. Maybe too small, but actually let's just turn the bump up now that it's that small backup to one. There we go. Let's take this term to 0.005. Here we go. We have this nice rusty look. She's an artist color layer. Start combining colors and noises to create this organic looking rust because there's no real pattern to it and it's not just one or two colors. You can choose multiple ones and have them be different noises, so they overlap and look even more organic. Actually, this rust is too reflective still. I'm going to bring this down here and we're going to see what that looks like again. There we go. That's a little better. What we ended up doing after some tweaking is I always fine tune everything until the point where I just need to stop. But I've got this red color here, 38 value, this orange or dark color here. Then I've got that. This other one which is an orange and a black. They're set to average at 0.72 and that's what's creating this color. That is a nice dark red, rusty multi color and that on top of the bump map, which is set to one and the noise to 0.01, 0.2, 0.3, 0.3. That's giving us this rust to color with the reflection power 0.6 and the roughness of 0.6. It just has this natural organic, old, rusty look to it. That's how you can use max on noise or texture maps or anything you have to start combining colors to create more organic things that you can't normally do. There's also another thing you can do if you want to change the color of something, like as if it's a constant, like you wanted to add a solid color. There's a couple of things you can do inside this material you can go to Overall and you can change the overall tent. But she's the overall tend to white doesn't actually do anything. But if you change the overall tend to like black is going to make everything turned black. Let's say you just wanted everything to be a little whiter without having to mess with it instead of here. Let's say you wanted to add things and make everything just a little wider without having to go into each material and start messing with the blend and how that worked. Well you can do is add a color constant. Color constant is going to be something where you can just pick a color and start, add and add that in. We could add that the layer 2 color. Now we have three layers of color. We can enable their two. When it's set to normal at a mask of one, you see it just overwrites everything. But we start to change that to screen. You see we made everything very white, but we start lowering the power of that and you can see we just start turning that up a little bit, just making everything is a little brighter. Just by adding that color constant into a color layer, you can change the overall color of something or mixing since we wanted this to be blue, which would look bad. But just for the sake of example, we'll do that. Now we've got this purple because it's mixing with the red and everything's so you can start color correcting things like you would without having to take any textures, of things outside cinema40 color, correct and bring in the back, you can just do that in here and add solid colors to your things here. Just it's a bit of lightness, I think helps out a lot. There we go. Now we've got a nice rust metal look. 29. RS Color Layers - Wet Droplets on Black Metal: Now, I want to show another quick use of displacement to create a sort of a wet water droplet look on a black metal. We're going to do this, we have a water droplet texture that I've created. We're going to drag that in. We're going to say, no, we're going to take an invert. We're going to plug that into the invert, and the reason we're doing that, is because the water droplets are white, where they want to be raised up in black, where they want to not be. But we don't want that to be the case, we want this to be the opposite case for the reflection roughness. There we go. Now it's shiny where the water droplets are and it's not as shiny where the water droplets aren't. One thing we can do, is use a color layer and plug this into the base color of that, plug this back into the reflection roughness. Now under layer color one, we're actually going to add a gray. We're going to slide this down, and we're going to be able to control our roughness just a little bit. We still want to be kind of reflective, but not as reflective as the water droplets. Now I've created a sort of a smoother look here, but we want it to be a little more, some more white. It's very clear coat on this, what's going on here? Here's a clear coat. We're going to start sliding this down, that way we get this look. We're going to create a color constant and we're going set that to white. We're going to add that into layer color one. Now we're going to start lowering this down and we're going to set this to add, lower it down. We're actually going to go to the constant and we're going to make it more of a gray, maybe even more. Then we're going to turn it back up, like it was set to normal. There we go. We're going to take this color constant, we're going to set it to sort of a grayish color, and we're going to plug that into the layer one color. We've created this color constant with this light gray, and we're going to plug this into the layer one color. That's set to normal, and we're just going to lower the opacity of that, that way we get some of the roughness of that being applied. But we don't want to override the water droplet whiteness. That's not terrible, set this to average, and really lower it down, or pick it up, add, subtract, multiply. We've set the multiply and we're going to lower it down a little bit. Now this is still kind of rough, but hard water droplets are so really bright and reflective. Now what we need to do, is just add a displacement map, this placement. We've got our water droplets here and we're going to plug that into that, texture map, plug that into the output displacement. We're going to make sure that this is set up, it is. We've got at a 0.25, 0.25, and you can see those water droplets are way too displaced. Let's lower this down to 0.25. There we go. Now we've got this nice material with water droplets, if you look around the edge, they actually look like they've got volume to them. They've got depth. They're actually affecting the way that it looks. The difference between this and a Bump Map, and I'll show you, let's take off the displacement. We'll add a Bump Map. If isn't a Bump Map, it's not quite going to give you the same effect. You see, Bump Maps going try to make it look like these are puffing up, but you can tell really easily around the edges that these don't actually have any depth to them at all. That doesn't look nearly as good as a displacement map does. We've added this in here, displacement, and now we have this nice wet middle, with these water droplets on it. Really cool, fun texture, you could put that on a window or something like that, it be really a nice look. Very cool. Okay. That's that. 30. Bump Blender & Curvature: For this video, we're going to go over the bump blender and the curvature map. Now the curvature map is really cool and the bump lender is also very cool, is it works a lot like a color layer, but it's for bumps. So we'll go here and we'll go and create redshift material, material. Apply that, double-click that, opened it up and get out inner window back open, I don't know why I keep closing it. Shouldn't this downs, it's out of the way a little bit there we go. So we've got our nice gray material on here. For this, we're going to use a nice hot pink color. There we go, that might be a little too hot pink let's lighten it up a bit there we go. We're going for more of a pink rangers type color here. Now what we're going to do is create a layer of bumps that are actually all going to be applied and create multiple scratches or things like that, and also use a curvature map to drive those bumps as well so let me show you what I mean. Bump map apply that and then we're going to go ahead and apply a texture. We're going to use our scratches, seamless scratch. We're going to apply this seamless scratch texture. We're plug it into the bump. Takes your input, put this into here, and apply this to the overall pump input. We'll take a look at this and we'll set this to like negative 0.2 and you can tell that's a little too much. So let's say we want to refine this up, let's add a roughness map to this. We'll just use a noise because we really want to show it the bump map window. We've got this, we're going to go with the nice array. We're going to change the noise to turbulence up the octaves, lower the scale, plug that into the reflection roughness. Now we've got a rougher middle, we're going to make this a little more dramatic and there we go. Now let's say I want this scratches to actually only appear around these curves. The way we want to do that is use a curvature map. Now the curvature map is pretty awesome. It's under the textures curvature. If I plug this straight into the output, you can see what it's doing. It's crazy looking. The way curvature works is you have different modes, you have convex and concave. That means it's going to be based on whether the object is protruding or if it's like an indentation, and then you have a radius that you can effect. We can lower this down to point one and you'll see that it tightens up pretty nicely there, and then as far as the samples that's going to clean that up, I went way too high. I don't know why this slider is insane. But we're just going to go up to like 64 and that's going to clean that up a little bit. But we don't really need that to be their clean, which can leave it as 16, so it renders faster and a little rough isn't that bad for this? So what we can do now is just the pivot or the contrast of this and you can do the same thing with the curvature map that you came with textures and things and add a ramp into it so if you want. Because right now the way it's looking is there's a little gray in here. So if you have scratches, they're going to be applied in this area as well, little faintly but let's plug this in here and let's just tighten this down other direction too far, and let's just tighten this down here we go. We only want to apply in this curvature area and we're going to take this and we're going to up the radius of it to like 0.25. Now we've got this rough look, all these little things where it was anywhere that's indenting, it's adding this value to it. If we want to take this texture and apply it with only the curvature, the way we do that is we add a bump map, a bumper blunder. To get a bump blender here and let's slide everything over just so we have some room. So we've got our curvature maps that up here. We've got a bump blender map setup right here and so we're going to take our bump map and we're going to plug it in. We're actually going to plug it into layer zero, not the base layer. We're going to put in the layer zero bump input zero and I'm going to take our ramp here and we're going to plug that in to the weight map of that bump. Now if you hook this up to the bump input and then plug this in, you'll see there scratches now are only being applied around the edges of this as if they've been rolled up against something and only edges had been hit or they've been blasted with sand or whenever anything and as you adjust the ramp of this or the radius, you'll see now I can get a couple scratches here and there elsewhere, but we're still mainly getting them around the edge. So if we take our curvature map and we expand the radius very high, you can notice it. It gets so high that it doesn't even know what the edges are now and we can tighten it up real tight and even tighter we got 0.01. It will only be really at these really sharp edges, we'll get these really tight little scratches and thinks, so now only these little edges are getting linked. That's a really cool way to use the bump-map and curvature and then you can start combining things. Let's say we wanted other bumps to be involved, such as like just another scratch texture, but we want this crunch texture to be a lot smaller. So we're added the bump and so you have to create another bump map for that and then plug that into the base. We're going to make this a lot lighter and I think 0.05 take this off and we meet our bonds actually a lot bigger and instead of smaller, we need to go five. We're going to lighten this up even just going to go little bit 0.005. So now we have some scratches and things and we're going to take the scratch texture and we're actually just going to offset it like 50 just so it doesn't line up there we go. Now we've got these really light scratches on the surface. But then around the edges, we have even more tight scratches and then more and more intense. We're set this to two, so they're not quite as small as these, but they're not, they're smaller than they were and we've got our curvature set to 0.2, so you have them run the edge here. Now if we look at this whole thing, you can see and we can render window this, we can see some edges here. Like let's look around here. You'll see there's light scratches all throughout it, but then around these little curvature bits, there's extra scratches and so along the rims here along this old and dense, you've got this nice scratch thing. Now you can apply a bump map to just add like eroded and scratched edges there, little rougher than the rest of the objects you have that extra little layer of realism, more like something's crashed against it or something like that, that's how you can use a bump map. You just use it just like the color layer and stuff like that. You can use a curvature map as a weight for the blending of your objects, think of it as a mask, basically whether y values, the y it's going to be applied in black is not. But it's controlled by the contours of the geometry there you go. You can see is this cleans up. You've got this nice little faint scratches all throughout it. But then really around these edges, it's really beat up around these holes and things like that. It's really a cool they'll look. You get an extra layer of realism. Very cool on something like a Mac or cars or anything. You just add a little extra level of realism to where the edges have been damaged more than the whole body. You don't want to put scratches uniformly across the whole thing run when you could add them more dramatically to the edges. That's a really cool way to use the bump map window, the bump blender, as well as the curvature map. 31. Bump Blender - Akira's Bike Metal: So I'm not going to walk you through this one all the way through, but I'm going to show you how I did it and how I can do it really quick. This is just using some of the same things we've learned and applying them all together at once. What I've done is I've created a red metal starting with lead, I believe, and then adding this red color into it. Then for the bump map, we have a Maxon noise, Pezo noise and we've got it stretched out. We've got this brushed look. That's what we had earlier, through our objects. We've created this brush look, I've done the same effect here. Then I have the scratch texture that we've used and I have a curvature map with the ramp. The curvature map is being plugged in. We have this bump to give it that brushed metal look. Then on top of that, we have scratches being applied through the weight of this curvature map. They're only here along the edge. Then respectively for the Noise, we've created a Noise and we have a scratch texture, which you need to add. We have another Noise. What we've got going on here is we've just layered multiple Noises onto these color layer with the scratch texture, and with another noise layer, and all three of these are just being added. We've set the screen and then we've set layer two to multiply, if you turn this off you'll see the difference. It's just a little too rough and shy but when set to multiply, it's going to bring the blacks from this mask or the lights from this mask and apply them. Multiply them on there so we get this nice organic metal look that looks a little rough. We can still see the bump from all of that. We've plugged that into reflection roughness in our bump map, and now just from a couple of textures and a couple of Noises with the Bump Map Blender, and this we have what I like to call Akira's Bike Metal. So it's this really cool red metal that's been like painted on, and it's brushed like it's been formed in a factory, and then it's also been used a lot. So the edge or edges are really rough. Now you've got this nice cool material and that's how you do Bump Map Blender and color layer. Now you start combining the things you've learned. We've got how to do multiple layers of roughness, blend those together, and then multiple layers of bump, blend those together as well. Also adding a curvature layer on top of another layer of bumps. If you want to adjust this and make this like 50, you'll see the change here. If you wanted to make this bump map more obvious, this brush metal look, you could crank that up and you'd really see it. You'll see this and then you'll see that the curvature is now lost on it because it's not as strong. It's not as obvious because it's not any stronger than this bump. You're going to make sure that if you want a curvature map bump to be really obvious, you want it to be more powerful than an overall bump that's going to be applied uniformly. We're going to lower this back down. There we go. Now we have this nice, brushed metal look, but we also have all these scratches. There we go. Pretty cool. I use the same techniques to create a distressed, rough steel look and I'll I'll walk you through that one. 32. Bump Blender- Rough Secret Bunker Metal: Let's create this metals from scratch. Redshift, Material, Material this is over here, so we can apply this to our object. Slide this back over hit Vendor Preview. We're going to default set this to iron, so we got this iron look here. What we want to do is create a bump blender because we're going to have multiple things to fit the bump, plug that into the overall bump. Then we know we're going to need a bump map and were going to need more than one bump map. Then we're going to start adding noise. We're going to go with noise. The maximum noise. We'll plug that in to this bump. Let me set this to FBM. Apply that to this as the base. We've got this bumpy material here. Whereas the overall size to 2.2. It's just a little distorted, a little like it's been banged up just a little bit, but not too bad. Then we're going to go ahead and add another texture. We're going to add some smudges. We're going to open up our texture maps. This smudge material is actually from. We're going to actually add this smudge material. We're going to plug that into the bump here. Nice. Then we want to add this material is called effective Tron net grunge erosion. You can't see the preview, but it's a bunch of little specs. We're going to apply that to this. We're going apply that to this bitmap. Plug that in to the layer 0, and we're going to start blending that weight up a little bit. You can see what that's going to look like. We're actually want this to be negative one. It looks like it's chipped away. We want to be chipped away around the corners more than around this. That means we're going to need to add a curvature map. We'll add a curvature map. Then with curvature map, I always like to have a ramp just so you can control it a little better. Curvature map into the ramp, ramp, into the bump blender. We're going to control the weight of the dots. The curvature map with our object 0.2 is a really good place to start. Then we can bring this up a bit and a bit. There we go. Now the edges are very dainty and the rest is beat up but not really. That's that. We've got that going. That's our good bump. Now we want to add some roughness to this. What we're going to need to do is edit color layer. In this color layer, we're going to have some textures in some noises. First we're going to add a noise, again. I'm going to use this for the roughness. I set the silica dark gray. You don't anything to be super shiny. We're going to use FBM again. We're going to plug this into the base input here. We're going to plug that into the output so we can see what we're doing. You could tell that it needs to be adjusted. Tick that off. There we go. Here we go. We've got this real grungy look right here. Now what we want to do is add another map and we're actually going to add a texture map this time. We'll open up our textures and we're going to add this smudgy fingerprint one that I like to use so much. We're going to plug that into color layer 1. If I can turn the mask up and we'll set it to add. It's going to add those fingerprints on top of this already crime there. We've got that. Now since that is hooked up, all we need to do is plug that in to the roughness map here. That reference map goes to the output. The output will have a bump or map and our scratches. Now I'm going to say that I don't love the thumbprints for this one, so we're actually going to change that. To change that you can just click this little button right here when you have a selected. We're going to add this crazy texture here this rough dirt. There we go. That's more of cool, weathered look that we're going for here. Since we said to add it's making everything a little rougher than we need to, so actually, instead of changing that, we're just going to change this so that it's actually a little more reflective. Here we go. Now there's dirt and grime on this. We're going to bring this up a bit. We don't want to be super shiny, but we don't want to be totally, here we go. We're going to change this from add to average. No. Here we go. Just adjust these color values here to be a lighter gray and a more of a very light gray. Now we have this really dirty metal. I'm going to bring this down just a little bit. You have some more that and we'll bring this down. We're going to go to a smudge texture and we're going to enable the Gamma. I'm going to bring it up and we'll bring it down. There we go. We've adjusted our metals here to be a dark, our noise to be a dark gray and a light white. Inverse smudges. We've affected the Gamma and we've brought that down to 0.688. That's given us this nice metal look here. As far as the noise for this first bit is, it's not doing a whole lot. I actually want to play with it a little bit and turn that down, see if you can make it a little more interesting. Yes, so that's what way too much. But if you take it way down 0.025. Now we can have just a little extra roughness in there. Maybe like a 0.1 would be enough. Yeah. You've got this weathered, dented in look, it's a little too much, 0.05. We're going to make this even smaller, 0.05. There we go. Now for this up-close, turn the render view. You'll see around the edges here. Picking up this bump. That's actually fun. Still got this erosion. It's being driven by this curvature map. If we lower the Gamma of this like 0.25, really is going to amplify that noise here. We're going to bring this down, so there's a little more of it. We'll let this render and you'll see you have the edges will be nice and warn. You can see you just have this really nice, weathered metal that's just been sitting outside for a long time in a harsh environment it's really cool. There we go. 33. Bump Blender- Distressed Scratched Metal: Okay, for this Bump Blender tutorial, I just wanted to show how I created this really rough, scratched edge, dirty, old metal. What I have here is I've got a max on noise and that's providing this old, dent-y bumpiness to that, and it's allowing it to just have an organic look like this with thickness to some of this filth that's on there. That's plugged into a bump map and that's set to 0.2, so it's just a little bit. Again, that's just taking the values of the black and white, then [inaudible] in setting. Then, for the scratches, we've got our image here of this effect of trying to crack bump map and that's set to negative one. That way, those scratches actually indent in rather than stick out because the negative value is going to allow the whites to go down into the middle rather than come out. That's plugged into the base input or the bump input one. The curvature map is driving that, so it goes along these edges, and again, you can increase the radius of that, so there's more of it. If you do something where you need to have it be really clean, if you notice it's a little feathery around the edges, that's base driven by these numbers samples. If you want that to be really a tight, hard lines so the subject isn't like feather out, you can increase the samples here or lower the samples if you want to be a feathered look, but 16 is a pretty good base and looks nice and organic. You really only want to mess with the samples. If you want to be really sharp, you can up the samples there so that's really clean, which we will talk about later when we start mixing materials. Then, our final bump map that's going into the bump input one which is just added on a little bit is just this smudge texture. That's giving this reflection roughness here. We've got a noise over here with the gray and the white, and that's going into a colored layer, which is then set to add with this smudge texture and that's just plugging into the reflection roughness. Thus creating this look where you have like it's very dirty here. Then, there's little moments where the original metal is peeking through. It's just gotten filthy. It's got scratches around the edges. Just a cool, dirty metal. Okay. Cool. Let's continue on. 34. Material Blender - Black with Gold Rim: In this video, I'm going talk to you about the material blender. The cool thing about this is because we already have materials. We can just use the material blender to start combining the materials we've made to create under the look on our object. So we're going to take this black down here. This is kind of a smudgy black. We're going to Control and drag. So we create a different copy of that. And we're going to grab that, and we're going to plop it on as we do. And we're going to double-click this. Open it up. what we can do, all you need to do is we'll add a material blender, which is under materials right here. We're going to plug this into the blue here and put that as the base. Then what we're going to do is we're going to use a curvature map. We're going to plug this into the layer one blend color. We don't have a layer one yet, so nothing's going to happen. But what we need to do is grab another material. Let's take this Polish gold and you can just drag that right in and it'll create a reference file. So all the attributes of that will be in here. If you change that, this will update. So that's really cool. So you can do that by dragging that in there so you have a reference or you can go into this, copy all of this, and then paste it into your material if you need. If you want to not reference that and you just want those attributes, but you want to be able to so freely changed that one if you wanted that for whatever reason. So we've got this reference. So let's slide this up, so we can see what's going on. Put this underneath here, and we're going to plug that into the layer one color. Then we're going to drag this over to here. As now you see we've got this like gold all around the edge kind of this really cool color and that's because our curvature maps radius is still pretty big. We're going to take that down to 0.2. We're taking it down even lower to like 0.05. Here we go. So now along all these edges, we have this nice black, but in between we still have some gold leaking in. So the way we fix that, again is with the ramp. So we'll grab this, plug this into the ramp real quick. Plug that ramp into the blend color. You understand the ramp is just going to clamp that down. So to bring that up is going to make these values that were gray, there going to be pure black. So we're only getting gold around the curvature map. So if you plug this in, you'll see you exactly. Anything that's white is what's going to get the gold material, everything is black is going to remain the base color material. So there you go. It's that easy material Blender. We have this really nice gold rim black object and you can use this with any material you've created. You can just start plugging in other things, if we wanted to do like that distressed metal we just made, we can drag that in there, plug that into the base color there. Now we have a distressed metal with all the same attributes. Except now we've got a gold rim on it. Really, really cool, really simple, quick way to do that. Just a really nice clean look there. 35. Material Blender - White with Copper Rim: We'll create a new material which I already have right here. Create a new material or plug that in. Open that up. We're going to make this white. This is going to be nice. White, we're going to take the reflection up a bit just so it's a little rougher. We're going to add a noise into the reflection real quick. Just to give that little extra. We'll switch it to not just yeah and we'll say make it gray. There we go and we'll plug this in just so we can see what that noise is doing. It probably needs be scaled. Let's say like 0.5. There we go and we change the octets on that to increase the detail on that. We can increase the low clip if we want and bring down the height or high clip a little bit. There we go. Now let's plug this in. Make sure we want this to be pure white. We don't want it to be like this grayish white because we want to see that difference in that reflection a little easier. It's still going to look white. But you're going to be able to tell that net roughness map a little bit easier. Now let's take this copper that we made. I actually like this polished copper we made. We're going to do the exact same thing, curvature. Plug it in, general, sorry. A curve; you know what, I totally forgot. We actually add the material blender. Obviously. Take this material, plug it into the base. Take this curvature, plug it into layer one blend. Take this and plug it into layer one and if you don't like how these are out of order, you can swap them around and realign that if you want, but you'll see it. They'd go in order that in which you add them. Even though in the menu here they can be in a different order. You can change that up inside of here by clicking and dragging. We've got that. We'll plug that in. I believe we'll have to put a ramp on our curvature map here, just like we always do, and blending color and line this up, go to our curvature, lower that down 0.05. There we go. I get this cycle really nice kind of elegant material. You can go even lower, 0.01, really tighten that up, 0.02 want that to pop a little more. There you go. You can see really easily just how do you start combining materials like that. 36. Material Blender - Tron Metal: I'll show you one more material I actually like to show off because it's really cool. Is the Incandescent. I know it's not a metal, but this is a pretty cool fine material that I like to create. Real quick, we're just going to create a new material and put that on our Shader Ball, open it up. You can change the color to black. We're going to add in a Texture Map. We're going to do this smudge. Sign up. Plug that straight into the Reflection. Actually, you know what we need to do. We need to combine this a little bit. We're going to go with a Color Layer, and the reason is because there's so much black in this smudge. I don't want any of it to be purely shiny. I wanted to have a little white to it. I'm going to add this the Layer Color, and then I'm going to add a color constant as the base. I Want this constant to be a gray. I don't want it to be super shiny. I don't want it to be really rough. If we plug that in, the output will see what that's going to look like, ''Redshift'' ''Review.'' We're going to set this to ''Add.'' We're just adds that grave into our materials. You see, there's no black anymore. We still have some of that. There we go. We're going to plug that into the Reflection Roughness here. Plug that in there so you can see what we're doing. Very cool. That's good. Let's add a little bit more of a light into that. There we go. Little more smudgy. Perfect. Now, what we're going to do is create a new material, Redshift materials, and we're actually going to go down here to Incandescent. This is going to be used to make lights and things like that. Open that up, and so the Incandescent, you have different options than a normal material. We have Illumination here and we can choose the color, and we're going to choose this teal blue like tron color, and we're just going to leave it at that. Now, we're going to open up our material back in here. We're going to grab that tron color, bring it in, use a Material Blender, and then we're going to go ahead and add it Curvature Map, and when we add a Curvature Map. We're going to know we probably need to go ahead and add a ramp. I'm going to add these two things together here. Ramp to your Blender, Layer 1 and then color. This gets plugged into the base, and this gets plugged into Layer 1 Color. The object that's base driven by the Blend Color is obviously going to be the color that's applied to the Edges, driven by the curvature. We'll take this down to like 0.05, and then we'll plug that in to there. I forgot. I actually connected the Color Layer to the base, and I actually need to connect the material to the base. There we go. Now, we already have this like really nice tron Edge Material. We'll clamp it down. There we go. Let's add this up just a bits as little over. Here we go. We have this cool glowing tron material, and the cool thing with Incandescent is, they don't light your scene up like a light does or something like that. But they do actually affect Global Illumination. If our scene was darker, which we can go on here, we can just turn off our lights. If you go into our lights up here, and we turn those off, you'll see that the Illumination actually does light up and it lights around the floor where it's hitting and stuff like that. That's very cool to keep in mind. But obviously, we can't see the detail because it's not going to light itself in the material here very well. Keep that in mind, but it will light up things in contact with it, but you will still need some lights on your object to create the Reflections. If I change this to black or something, you'd see it a little better. Be pretty cool, but there we go. That's a really nice easy way to make a cool tron-like material. That's the Material Blender and you don't have to use it with a Curvature Map, and I'll show you how you can use a noise to combine it as well. In the next video, I'm going to talk about try planar nodes. 37. Triplaner Nodes: In this video, we're going to talk about triplanar nodes. We're going to create a new material real quick. Apply that, open that up. Again, open up our Redshift Renderview. Let's say we have a texture. Let's go ahead and bring one in. We've got this smudge here. I would plug that into reflection map. Roughness. Let's adjust the gamma on this so it's a little rougher, there we go. Let's say you had this on here and you had another material and it's in the exact same spot. You can just go in here and offset the controls and rotate it and stuff here, but you really only can rotate it based on one axis here. I'm just going to wrap around the UV but let's say you had a triplanar. We plug this into the triplanar, coordinates, we go to texture, Image X, and you'll see here we have same image on each axis. The way the triplanar works is, you can actually apply three different textures on the image X, Y, and Z. You can add an X, Y, and Z, and you're going to just blend them out between the three. See, they have different images; one is going to project from the X, one is going to project from the Y, and one is going to project the Z. The X would be the front face, the Y would be the left and right because it's the up and down one, and the Z would be the depth, so anything that's along the Z-axis but the cool thing about our triplanar is now we have a little more control. If you have something like a texture or something and you want it to rotate it around, you now have control. You can rotate it on the X, you can rotate it only on the Y and only on the X and only on the Z. I'm actually going to bring up a cube for this real quick. We'll just hide our shader ball, you can alt click to close that off. We're bringing a cube, scale it down because it's tiny. Bringing that up. Apply this to that. Open up the [inaudible] , open up your object here. It's going to be a lot less fancy-looking but here's our cube with our ShaderMap on it. Let's use something we can really see a bigger difference on, use fingerprints. This is also good if you don't have a seamless texture because the way it works, [inaudible] bumps so we can really see what we're doing. You can see how this is working. I'll slow that down. You see it's very big and you see this is like a giant fingerprint. That's because our cube isn't UV mapped or anything, but what we can do is we can use this triplanar and we can actually scale it back to one. Now it's repeating a whole lot across it. We're going to lower that down to 0.2, 0.2, and then 0.2. Okay. So you can see that these textures are being applied on all sides of the cube. If we wanted to, we could take a different material, like let's say noise and plug that in and plug that into the Y. We uncheck this and you'll see it gives us a blue for the Z here. The good way to do that is to plug it in to the diffuse color so we can see that. You can use this along anything. That's wrong. The X is the front, the Y is the top, and the Z is the sides on your object. This is a way if you had something that you wanted to have a different texture on the side or the top. You could easily do that by adding different things on there. We've got a blue color here on the Z. Basically, the main thing with the triplanar, the reason I use them sometimes, is just to adjust things. Let's say we just have this. Let's go back to check this the same. This is no longer being used. We have these cubes and we're just going to take it off the Roughness Map and we'll leave it on the Bump Map. We're going to look at this and you can see how they're clipping the edge and you can tell it's like the same textures being applied, looks like an exact repeat. You can use a triplanar to actually start offsetting that or rotating that, we could say 90 degrees and rotate on the X 90 degrees. Now my fingerprints on the front are going sideways but my fingerprints on the sides, stayed the same direction. Just a way to change that up so it doesn't look so uniform and then each phase, this is the X, this is the Y, and this is the Z. If you wanted to rotate these to be sideways as well, we could say 90 degrees. Now both these fingerprints are going to be going at a 90-degree angle while the fingerprints on top were staying the same way. Now if you look at this, if we rotate this to 90 degrees as well, you'll notice that now our thumb prints, the ones that overlap because it is the seamless texture, they're actually going to line up with the things and the others, we can have stuff that actually wraps around corners without it breaking. If you have pattern or something, you could have that going. I'm making sure that I actually have that lined up. I think that's lined up [inaudible] negative 90. See, it's not lined up. Let's switch this to 90 and watch how these change. Yeah. Let's set that to zero. There we go. It's actually lined up there. You see this thumbprint goes and bends around. Now with thumbprints it doesn't make a whole lot of sense, but this way you can actually create some nice, and watch this will change. Yeah, you can create some really nice things that kind of wrap around and stuff if you have a texture of like cracks or something let's what we got. We'll do that. We'll go to our cracked texture here, so no, this will update. We'll scale this up just so we can see the cracks more intensely. This will get bigger and we can see whether they line up or not. Now if we zoom out, you can tell what we've got and if we go over here and we set this back to zero. You'll see what I'm talking about when you can tell the patterns are repeating. It's not super obvious here, but when you have a material that has a clear pattern, you can really tell that they're exactly the same. Another way you can do that, if it's a seamless texture another thing that the triplanar offers is, let's say see how this looks a lot like this and it's like I'm pretty sure that's exactly the same material being applied here. Well, one thing we could do is since this is the Y, we could rotate it 90 degrees and move that over there so it's not so obvious, or we can actually offset it. If we take this and say like 50, if we take this and we start scrolling that up, we moved this material. Now that little piece that's right there isn't anywhere to be seen because we moved it around so now it's being split up by a corner, it's not so obvious that it's the exact same material and you can just offset duly. Now we can see that we've got just a different look on different faces. It's not the exact same stamp of the seamless texture on each face. This way you can change it up so you can use the same texture across all of it, but give it some variation so it's not so uniformly distributed. Pretty cool. Another thing you can do is change the scale of everything. If you have a texture, you can do that in here, but now you can change the scale of just one side if you want to. If you want one side to have smaller scratches like long wave scratches in the top to stay normal and you want these to really look like they're etched in there for whatever reason, you could. It just gives you more control of how your textures are being applied to your scene, or to your object. It does get funky. It's really easy to see with a cube, but when your object is round and has a UV map on it, things get a little interesting, but it's just a good way to kind of, you can offset noises and textures and things like that. You can offset textures and just kind of create just a different look that way your object doesn't look exactly the same all the way around and it looks like you used multiple maps and you don't really see the loop near as easily. Pretty cool. Use a triplanar. That's why if you download a lot of tutorials, sorry if you download Greyscalegorilla, everyday materials pack, which is really awesome, you should check it out. They have triplanars and everything, but they're not hooked up but they're available there and they're hooked up to the texture but not to the material. They're there as an option that if you want to change or tweak the way the textures being applied, you have that right there for you, which I think is a really cool thing they did. This shows you that triplanars allow you to do that. That's every tool that I'm going to show you how to use inside the materials. Now we're going to go step-by-step just to create some more complex materials that you saw in the intro video. We're just going go step-by-step to create them using all the things we've learned and just a few different things. We're going to create a eroded metal. We're going to create a rusty army, old metal and then I'm going to show you how to save your materials, as well as how to make everything adjustable. 38. Creating Damaged Blue Steel: In this tutorial, I'm going to show you how to create a blue metal that's been chipped away and where it's been chipped away, it actually reveals that it's made out of solid metal underneath. So it's a way that combine a lot of the things we've learned into one material using material blenders, bump blenders, all these things, noises, and all that stuff. So we're going to take a look at how this is created. So we're going to create Redshift material, apply that. We'll open our inner view, as well as open this. Here's a little preview of what it will look like. First we need to create just a blue metal. So we'll go with iron and we'll go to the color, we'll go to blue, we'll crank that up. Want to get nice darker, dark blue. Adjust the width of that, going to take the reflectivity down a bit on that, as well as make the edge turn just a little blue. Maybe a little lighter blue. So I'm going have this cool, dark blue metal here. So we're good with that. So we're going to start needing some noises to create textures and bumps. Noise, noise, marks and noise. Here we go. We're going to grab that, we're going to set this to turbulence and then we're going to add a bump map because we're going to need that. I clicked out, bump. Bump map, we adjust this, plug that into here. We're going to set this bump to negative 0.01 because this is going to be really, really tiny. As well as set this to 0.01, the overall scale of this noise. I'll just show you what that's going to look like. We'll plug that in. We're just making a really fine little dent look. Then we're going to add another Bump map and then we're going to need a bump blender. So we'll grab these two and we'll slide them over. We're going to plug this one into the base bump and then we're going to grab another noise, control click drag to create a copy of that. Plug that into the input of this bump and we'll connect this to the surface real quick so we can see what this noise is because we're going to create this one a little differently. We're actually not going to connect that. We'll create this noise. We're going to use POXO and we're going to use a seed and a half on the one I made because I really liked it. So we're going to use the seed of 250. So actually I've tested that and we're going to change the scale to 0.62. I really like the way this one looks and we're going to bring the low clip up to 0.152. Now we've got that harsher contrast here. We're going to take the brightness up to 2.88, sorry, 0.288. Just a little bit to bring that up. We're also going to add the contrast up to 0.04, just a tiny bit to counteract that, just to make these whites a little wider and it didn't do a whole lot. It turned out good. Just trust me. So now we're going to make a duplicate of that. Call control, click, drag. We're going to plug that in so you can see what that's doing. We're going to change the colors of this one. We're going to go up here and we're going to make this like a gray. Then we're going to make this a black. So now we have this opposite effect here. The overall scale we're going to set to 0.01. So now we just set these like speckles in everywhere, and for the low clip, we're going to set this to 0.4, excuse me, 0.415. We're going to reset the contrast and brightness if you right-click here. So this is just really adding, and we're going to change the seed of this as well to 48. So now we're just creating this little tiny speckles here. So what we're going to do is we're going to create a color layer. We're going to plug this in into layer one. We're going to plug this one into the base input. We'll plug this into our surface so we can see what that looks like. We're going to go to a color layer and we're going to change the blend mode to add. So now you see it's added on there and we have these really white crunchy places dragged into being in there and then we just have sort of this noise. It has just some bumps and things built into it. Very fine, just sort of natural little wear and tear stuff. So we're going to take this and we're going to plug this into this Bump map texture and we're going to plug this into the Bump map blender input. We're going to change the blender weight here to like 0.88. So it's mainly going to be this blend, but then we're blending in a little bit of this noise that was just really fine grain right there. So we have this blue material here and we're going to want to combine that with this metal material. So we're going to get a material and we're going to create a new material inside of here. So you don't have to go to create new material or anything, add down here and then bringing in a reference, you can just add a material straight from Redshift itself. So we have this material and we're going to go with silver right off the bat. So go silver, and we're going to go with a material blender. We're going to take this bump blender here and we want that to be applied to our rough metal. So we've got the silver here. If we plug this in, you'll see what this looks like. So we have these silver dents everywhere, which are really being dented in. I think I need to change my bump, no? Yes, I need to change this bump to negative one because you actually want the white values from this noise to be dented in and not denting out. So now when we flip that, we see that now it's being extracted, pulled down into the surface. We have these nice chips away. So what we're going to do, the end goal is to have everywhere that's not dented in it's going to be this blue metal, everywhere that is, it's going to be the silver medal. So inside the material blender, which we're going to hook up to the surface here. We're going to take our blue material and we're going to make that the base color. We're going to make our metal material with all the bump and everything it's going to be the layer one color. So if you look at that right now, it doesn't look like anything because there's no blending color. What we're going to use is the noise, this color layer that we created for the bump. We're going to actually use that to drive the layer one blend color. So when we plug that in, you'll see bump. We're actually going to go in here and we're going to adjust this just a bit. So you can see already that everywhere there was silver is very silver and then where is blue is blue, but I actually want that to be a little cleaner and a little sharper contrast. So I'm going to grab this and I'm going to add a ramp. I want the blue and this silver not to mix except inside where the bump is. So we'll plug them in the surface. So you can see how all this gray, I don't want that to be gray. I want that to be black. I'll keep sliding this up, sliding it up. There we go. Soon we're like the tiniest bit like that. Just a little bit back, just a little bit extra noise in there. There we go. So we plug this, into the blend color and then the blend map into the surface. Now we have this bit of blue metal and we can bring this down just a bit so you get a little bit more. Here we go. So now you'll see we have this blue metal that's been chipped away and if you switch to the render view and we'll do a little quick little bucket renders, so it looks cleaner. You can see that where it's chipped away, it's revealing that it's made of solid metal inside, so it's not blue anymore. It's actually changed to a different material. It is now that silver material that we created underneath. I think this bump is a little too high. We need to go like -0.5 rather than 0.1 rather than negative one. Just being a little funky. There we go. So you can see we still have these little dinks endings that we made from the noise and the bump in here where we have a little bit of the silver's been chipped away and there's like a little dust and stuff are like little pieces are flaking away from the painter. Then you've got these big chunks had been knocked out where it's revealing the silver underneath. So you can see it looks pretty good, just pretty awesome and all you have to do to change it up is start changing your noises around. So you can change the C to this if you don't like the way these are falling or the C to this one. Then you can move around where your chunks are if you'd like them to be in a different spot. So you instantly have this procedural metal dink that you can just move around and play around with and move it around as much as you might. Pretty cool. So there's a material that's using all the things that we've learned a little bit. There's no curvature map and stuff like that, but it's using the bump blender, the color layer, and the material blender, and a ramp and noises all in one to create this eroded steel. Now we could add in a texture map and add some scratches to this as well. If you wanted to use a curvature map and plug them into the bump blender and start layering things on thickly. But one thing I want to show you in the next video is now that we've created all these materials before we make this really nice cool super material, I'm going to show you a really important tip about how to have these textures and make them applicable to any object, any size and UV map and that's going to really be the key. So you not to come in and start tweaking everything. 39. Making Adjustable Texture - Scratched Army Metal: For this tutorial, we're going to use this scratched army metal that I've made. We're going to take a look at this, and we're going to talk about the math nodes. Now, the math nodes are where it gets a little confusing because they're not as clear, they have so many uses that it's not as easy to know when to use them and when not to. Like a bump map, you know exactly what that's for. The color layer you know that's for blending layers together. What blender material blender they are all very clear. Now math nodes have so many applications, it's confusing. Basically what we have in the math nodes are two sections. We really have a constant here as well. We have two sections that we're going to cover, we're going to cover the scalar and the vector. Inside the scalar there's all these mathematical things such as absolute, which is what we're going to deal with, the ABS is the absolute. We've got add where you can add numbers together, multiply, invert, we should make it the negative, we can do many things in exponent. You can divide your cosines, you can get crazy with math in here. Then the vector is another thing we're going to talk about and you can do the same thing with all those add fractions. It's just a lot. Divide. The difference between the scalar and a vector is a scalar is basically one digit. If you look at a scalar absolute, we've got one digit here, one. We can say, obviously if you do that, that's 20 digits, but you'll see what I'm talking about you got one unit. One value that you can control. Now vector absolute has three values and it's based on an XYZ input. Basically if you have something like the scale and you want to control that, you can use a vector absolute to say 111121, whatever you want to do. When to use these is up to you. You can use them and combine them with the UV map to make things respond and correspond correctly with that. Or you can use them to control things individually if you have like eight different noises in your scene. You want to connect four of those noises to the scale with the UV map and the other four noises you don't want to scale or you want them to scale differently than the UV map, you can use vector absolutes to connect those and alter those. You can go in and control attributes across groups or individual nodes with math nodes. It just gives you an extra layer of control. What we're going to do is we're going to talk about the difference between texture scaling and Maxon noise scaling. Inside the texture map, if you look at this, you see that we have a wrap U and a wrap V and so on textures, they automatically work with UV tiles and UV maps. If I take my object here, and let's just take this texture and I'll explain what all is going on here with this material in a second. But right now I'm just going to talk about the math. We've got this texture and I want to plug it into the output. If I can click correctly. You see how it tiles and you can see it tiles, one boom, boom, boom. If you look at the UV map on this, we're at one and that's because, inside my texture, I have it set to four. The higher the number in the texture, the more repetitions of the texture there's going to be. Is the opposite of noise. If I set this back to one, inside this texture, we'll see that update. Now it's just one, the scale of the texture is now wrapping around one time, there's just one instance of the texture wrapped around the object. But if I go in here and I change this to UV tiles, and I change these to like four how it was, you'll notice that it changes and the texture without having to do any expressions to link or anything, textures automatically respond to the UV map because of that wrap U and wrap V checkbox. The higher the number, the more times the image is wrapped around the object. The higher the number, the smaller it gets. Remember that because we're going to talk about noises here next. Set that back. We're going to use the noise just to show the difference between that. Both Maxon. The difference between Maxon noise and the C4d shader into a texture, this is where they're different. Because the Maxon noise does not work like a texture does. But if you go from the C4d shader into a texture, to use that noise, it will. But the difference is, is that it's a lot heavier on your machine and if you have a whole lot of those is going to really slow down your process because basically, it has to bake the texture, the noise into a texture and then apply that. It's just an extra step of calculation that your computer has to do. If you want to use noise instead, there's just a few things you need to know about how it's going to interact versus the texture. If I take the scale and set it down to like.2 and let's just do something like it's a little easier to tell repetition. Let's do displaced we'll use that. We'll up the contrast a bit so we can have that difference. Here we go. We've got this and we've got an overall scale of.2. We're going to take our UV map and we're going to set it to four. If it's going to be like a texture map when I set it to four, it should repeat four times around then gets smaller. But as you notice, when you change the UV, nothing happens. Nothing at all because there's no correlation between the noise and the UV yet. So in order to change that, here's what I like to do. This is where we're going to go into the math nodes. You can do several things. You can use a vector absolute. What we can do is with our UV texture here, we'll right-click this, and magically reveal all that stuff, say set driver. Then we'll right-click inside of here on our "Vector Absolute". We'll right-click there at the "Input" and set driven. Now, this is going to be exactly linked to this. Now, you've got this vector driven here. Next what we want to do is connect it to a divide. This is getting confusing, I know. But we've got a vector divide, actually we don't even need a vector divide, yeah we do, we could do a vector divide. I'm going to do another vector absolute. We'll do this vector absolute up here, and we're going to say one, one, one, and we're going to plug that into the top here, and then we're going to plug the second one that's linked to our UV into the bottom. What this is going to do is it's going to take the top number and divide it, by the second one. The reason I'm doing it this way is because if we want our noise to scale like a texture, if we take our noise and we make the texture higher, say two, it makes our noise bigger, it repeats less. It's the opposite of a texture. Texture, the higher the number, the more repeats, noise, the higher the number the less repeats. If we take one and then divide it by that number, you will be able to create the same calculation. If we take this and plug it in to here, and we plug that in to the input coordinal scale global, which is the overall scale. Now, we have it. If it's one divided by one, that's fine. We've got one as a constant, and that's going to be divided by whatever our UV attribute is. If you bring this up, and we change this to four, that's going to make it 1 divided by 4, and if it's like a texture map four would make four copies of it. So it'd be four times the amount of information. We'll say four. There we go. We changed the tile to four. It's going to be 1 divided by 4, which is 0.25. Now, our scale, even though our tile is set to four, our larger number, the actual input that's going into our noise is 0.25. If you wanted the texture to look four times smaller, you would set the scale to four, but if you wanted the noise to look four times smaller you would have to do one-fourth of the number that it was at. That's what we're doing. We're creating that fraction, that correlation between noise and texture, because we've done this now if we take a noise and a texture together when we adjust the UV map and they'll both correspond correctly. I'll show you that in this scene, hopefully that made sense. We're going to get rid of this because we don't need that noise, and we're going to plug this one. For our scene, what we have here, we've got a green metal, we've got a texture and a ramp being combined, I think this is actually slightly up here, being combined to create the roughness of this metal, and then wait for the bump, we've got 1, 2, 3, 4, 5 things driving the bump, which is driven by two textures and a noise and that provides the bump. If you look at our metal here, it looking a little extra shiny. I'm just going to adjust that noise real quick. I think this needs to be a little wider. Here we go. If we take a look at this, and we're going to grab our math here. We are just going to take a look at this real quick. What we've got going on here is our texture right here, this one is set to four. This texture is set to one, even though they're the same texture, I'm using them differently. This texture is set to one, and this texture is also set to one. This noise is set to 0.21, and this noise is set to one. That means, when we adjust the UV map, all of these are going to adjust accordingly even though this is set to four, it's going to scale because it has the wrap-u. But when I just UV map, this max on noise, map is not going to be affected. I'm going to plug this in to the coordinal input because it was set to one. Let's copy this, going to select on this control, click, drag it down. The differences is in this noise, I like where it's at with the scale of 0.21. How do I keep that? Also, you notice the scale underneath is 100, one and one, which makes this a little more difficult. How do I do the math correctly for this? If this was all one, one, one underneath here in the scale, I could just plug it into there instead. There would be this applied over top of that, we should be fine, but since I have it being brushed, I need to adjust that. If I want that to work, what I have to do, is this top number is actually going to be the number that I have set here because I wanted to be in relationship to how it looks right now. You get it setup how you want, and then that's going to be applied. If I take this and I set it to 0.21, 0.21, 0.21, and we'll apply this so we can see what we're doing just to double-check. Here's what the noise looks like. If I go in here and I say one, nothing is going to happen. It doesn't change at all because it's a noise. But if we take this and plug this new math that we've created here, plug this into the vector division, and then down here you're going to realize that once you copy this, this expression breaks because it's no longer the same. So you have to re-click this, go to the expression that say Set Driven again. That's going to make that driven by that UV again. Now if we take this 0.21, which was the scale of this map at the point where we liked the way it looks, and we're going to plug that in and override that global scale. You're going to see is look exactly the same. Wolla. Exactly the same. But now when we go into our UV and I say, "Go up four times," it makes four copies of it. So it is now scaling like a texture. Even though the scale of that noise was not set to one, you could just adjust it so you're going to make that top vector number is going to be whatever you want the scale to be. Divide that by the UVs and plug them in to the Cornell scale and you'll get it to scale appropriately and we still have the stretch from the scale here is just working perfectly. Now we have that working correctly and the other noise working correctly. We now have all of the textures and all of the noises scaling the same way with the UV map. If we have this material and we put it on an object that has a different UV map or it needs to be scaled or tiled, we can now adjust that easily. If I put this on something and I want to make it 0.1, everything should get bigger. Exactly. Everything is bigger. More rays, that's perfect if we want to set it to one. It should look normal. Perfect. That's exactly what we want and we can do box window here so we can see this a little faster. Our render region, sorry. Then if you want to scale this up to 10 and make everything super tight, if we need two on any object because different objects are going to be UV tiled differently. We're not going to get into all that, but I just wanted to let you know that you can adjust these. Now we've scaled it up. All our scratches got smaller inserted or noises. Everything is corresponding correctly now, just by using some math. It's a really cool way to control that and just to reiterate, there's a difference between texture scaling and noise scaling. Very cool. Just because you can control them and link them to the tiles and the UV doesn't mean you have to. It really depends on what you want it to look like. If you want to make a material that you can throw on something and scale it and it look the same, is fine, but sometimes you want to find two things so you can go in and adjust the textures and things together. A quick example of how this works and why I would need it, it would be for me to put this on another object here. Let me set this back down to one real quick. What we have here is actually in our scene, we have a dragon model, I'm going to grab this, apply it to our dragon that I've brought in. I'm going to "Alt" click, double-click, turn off the shader ball, "Alt" click to turn on my dragon. It's still a very high poly model. I'll link the description in the resources where to download this. Here's our dragon. If we look at this, we see that on the dragon, this cuts and things, they're looking pretty good. They might be a little big because the UV wrapping for this dragon is different in the shader ball. I've already got it set to, let's say back to one. I'd already done as an example. If we look at this dragon now we can see that all of our noise and our scratches and stuff are way too big, like we've lost all that little detail like our scratches are huge on this guy from our palm map and stuff and it just doesn't look like the same material. It is the same material but because this dragon is UV-mapped differently, we're going to set up this math equation with so that they scale with the UV because right now they won't, because their maximum noise, all the textures and things we've used those will. So those are fine. If you want to go back and do that, you can for practice. I'm actually going to give you them prepared so you don't have to do that for you. Because that would be a pain, but also good practice. So you actually understand and can see the difference of how it's working. It's up to you. That is math. Hopefully that is understandable. We've barely scratched the surface of what those can do. You can do all kinds of expressions and controls and things for that. But not only for texture or noise maps, these can plug in anything if you want to set all the bump heights in one thing, you can. If you want to divide something by something, to create the optimal bump height, you can, or displacement height or whatever like. You can use math. Anywhere that you can put in a value, you can plug in a math. They really opened up just a huge world of possibilities and adjustments like I said earlier. There you go. Let's say you have an object that's not UV-mapped well, what you can do is you can have everything plug-in to some scalar absolutes since vector absolutes and those plugin to your textures. Then your textures and things could go plug into a tri-planar, and those can go into your material. Now you can fake a UV map basically on a cube out of box mode. That way you could, rather than controlling your UVs you would just control it inside the shader graph and you can control them all together with just controlling the scalars and things at the end of the line. Basically if you have all your controls over here with the math, you can just open up your object, adjust them exactly where you want them to be adjusted. Then we can have separate settings rather than relying on the UV map. So you can do that. Obviously it's still going to use the UV map, but rather than using the U and V tiles down here, you could just control it inside the shader graph, it really just depends on how you want to do it. Because there's no difference whether I came in here and I change this, instead of setting this up to be driven by that, I could just set a value that I like in the noise and get the same look. But there you go. I think this just helps when you're applying into different objects. If you want to save them and reuse them. Math is done. Let's carry on now. Hopefully that makes sense and hopefully it makes sense. To reiterate, textures will scale with UVs by default. Macs on noise will not. If you go C4D Shader into a texture to use your noise, it will, but it will start slowing down your computer a little bit in your renders because it's basically baking that noise into a texture. Then doing those extra calculations rather than just going straight from a noise. But it depends on your computer and stuff and your workflow, whether that might work just fine for you. But just be mindful that the higher the number of the scale of the noise, the bigger it is, and the less repetitions, the higher the number of the scale of a texture, the more repetitions and the smaller it is. You have to invert that for the noise if you want to scale architecture, which with this math equation, by taking the scale, divide it by the tiles, you will then create that same effect. Onto the final material is a beefy monster. 40. Rusty Army Metal Part One: We're finally here. Done. We're finally here. We're going to create this material. So much going on there, but honestly it's not that much, and I'll simplify it down. Basically, all of this, everything up we'll use. This is just a green metal material, and then all of this right here is the rust material. I'm going to show you how we combine all that to create a procedural, infinite possibility rusty metal. Easy piece. Let's start with a new material. Create material. Actually, we're not going to do that. First thing we're going to do is we're going to grab our army color here and we're going to make a copy of that. We're going to rename it rusty. We're going to apply that to our shaderball. We're going to open that up, wrong one, open that up. We've got that, that's what that will look like, and we're going to grab our rust, and we're going to open it up, here's our rust, and we're going to select all of this and say "Control C". Now, we're going to go into our base metal here, and we're going to say "Control V" and paste it. We're going to paste it right in there, we're going to bring that down here so they're separate, and we're going to add a material blender, drop that in, and what we're going to do is we're going to take this material, plug it in here as the base. We're going to plug that in to the base material, plug this into the output in this clicking, and then we're going to grab this one and plug it in to layer 1 color. If you look at this, let that think for a minute. We're going to apply that here. If you hit "Render" and it won't be on the dragon and it'll be on the shaderball. You will notice that none of our rust applies, we just have this scratchy army metal look. That's because in our material blender we haven't set the blend color or anything. If we start just messing with that, it's just going to start adding that rust on top of it, and that's not really what we want. We want it to look organic and like it's going in places and stuff like that. This is where we're going to build a color layer to really start fine tuning and creating this organic look. In order for us to do that, we're going to need to create some noises. We'll create a noise, mark some noise, grab that, bring that in here, we're going to change this to displaced voronoi, and we are going to change the seed to 616 just for fun. We'll show the difference in a minute, and we're going to leave all this how it is, we're going to go down here to the overall scale and we're going to change that to 0.5, and we'll go with the low clip and we're going to change that to 0.545. If we need to, we can always plug this into the output, which is way up here. You can hot key bind a thing that attaches this to the node, but then you still have to detach it in stuff too. It helps when you want to visualize stuff, and then, I guess, you can undo it. That would be very helpful rather than moving things around and putting it in. We had to set that up. Here's our noise, so that's what we're applying. Basically, the way this is going to work is everywhere that it's white or gray here, it's going to apply that rust material, and everywhere that it's black, it's not going to. But that's not cool enough because we want it to also apply the rust on a curvature map as well, because that's really a nice cool look. In order to start combining things, we're going to need to add a color layer, and we're going to plug this into the base color there, and we're going to have a curvature map, then with the curvature map, we always want to ramp. Curvature map in the ramp. Zoom in. Curvature map into the ramp and put, grab this, plug it in to the layer 1 color, actually. The reason we're doing that is because we're actually just creating a more complex alpha mask. We don't need to plug it into the mask here, we want to plug it in to the, bring our output down here so we can do this a little easier, hopefully. There we go. Now, we'll see and we'll change our curvature. Yeah, there we go. That's auto save. Go to our curvature map and we're going to change this down to like 0.12, here we go. Instead of setting it to normal, we're actually going to put it on burn. We're going to change that to burn. Now, you see, you get that curvature map, but the only part that the curvature map is being applied is where that noise overlapped it. Now, we have some edges that are getting noise or getting curvature applied, some edges that aren't, so you've these organic little breaks in the curvature, which is a really nice look. That way your rust isn't evenly distributed across all corners. All I'll have to do to change that is to change the seed around and that'll vary around. I'm liking the way that one is looking, that looks nice. So 614 is what we're going to go with. Actually, I don't like how it's so sharp on these edges and nodes and the others. I don't know why it looks a little more organic, that's not so evenly, there we go. It just says it's nice, breaks in it and stuff. That's pretty cool. There's a lot going on down there though, so let's keep fiddling around until we get one we like. Then I'll go with that one for now. But we still want to add actually another layer to this because we want the rust to not only apply on the curvature. If right now if what we did is applying this as a blend layer, we'll move this back over here and apply this material blender, and then apply this as a blend layer. Actually, before I do that, let me back up real quick. Now, we're going to take this color layer and we're going to add a ramp for it as well. Plug this into the ramp, I'm going to take this ramp and we're just going to clamp this down. We're going to grab this little dot and just really crunch it down so it's purely black and white. If you take that and we plug that in here as the blend color, you'll see it starts to show up there, but it's not quite powerful enough. What we're actually going to do is add a color correct, we're going to input this into that, and then input that into that, and we're going to up the gamma to 2.2. That's going to make that show up a little more. We're going to turn the contrast up as well. Now, you see we have this rust appearing on some of the edges, not all, not every curvature, just where it's overlapping with that map. But we also want some rusty splotches, like some actual area that is splotchy. We're going to add another noise down here into this color layer. If we go here and add some noise and then, we're going to go with displaced, that again, displaced veronoi, and we're going to change the seed to this, to 191. We're going to go down here and we're going to the overall scale of 0.5, and again, we're going to do low clip of 0.545. We're going to take this noise and we're going to plug it into layer color 2. We're going to set that to add, and we're going to bring that down to about 3.3. There we go. Set it down to 0.33. Now, you can see in our rusty metal here, we have this rust going along some of the edges here, but not all the edges, not all the circles are getting rust, but then it's also, this is organic rust that's just forming over top of all of it. We still have our scratches and stuff underneath it, which is really cool. We've combined these two materials we've made in this fun, organic way. If we want to just change the way that noise is showing up on there, we can just change the seed. You get the difference. You see some of it is going to be more intense than others. I liked where it was at. I'm going to set that back to 191. Because there's a nice balance between having some of the curvature be visible there, as well as having rust across the middlesome. You can clamp it up a little bit more if you want, shrink it down a bit. You can clamp it up to like 0.57 and that's going to shrink it up just a little bit so it's not so much everywhere. We still have this nice stuff around some of the curves and stuff, but they're not like solid, really nice looking. 41. Rusty Army Metal Part Two: The next thing we're going do is we're going to create another noise of the same type. We're going to control click and drag. We're going to move this up here and we're going to set this C. I'm going to set this C to 372. We're going to change the scale this down to 0.45 and we're going to up [inaudible] all the way up to 0.694, and we're going to take that and we're going to plug that into a ramp. My computer crashed. We're back. Luckily we just auto saved. We have plugged our Macs on noise here into a ramp and we're just going to grab this and slide this all the way down. I'm going to bring this down even just to make sure and we're going to plug this end to the blend color layer two. Layer two blend color. Then we're going to grab our rust material and plug that into the color layer two as well. This is just adding a little bit more rust on top of it. If we take this, plug this in, see here is a rust layer and we can start messing with the seed. We can start messing with the seed of this noise and it's just going to add a little bit more that rust in there in different places. Yeah, so you just get more of a organic rust. That's just a way to combine noises. If you have a noise you like, you can change the scale and stuff of some stuff just to kind of create a little extra rust and noise in there. We can change our other noise, the original noise, back down to something else. We can grab our original noise here back down and change it to something else. Now we've got a little more on the back-end there with that one, then we can choose this noise and change it and see if we get some more in the foreground. This will be nice, okay, right there. I like that. Now we've got this big rusty bit here and then we still have to change this to bucket view here, so it's a little faster. Render view, I mean. Sorry, render region. We'll change this to render region so it's a little faster. Now you can see we've got this curvature map that's being used and there's still some organic lack of curvature on some stuff. We still have some circles that don't have curvature, but we're getting a pretty much a solid curvature here. I'm going to start messing with this first ramp again to try to get a different because this is controlling where the curvature is being applied. There we go, now we've got some curves that don't have rust, some curves that do have rust. I really wanted to showcase that. Now we've got two layers of noise, rusty noise, as well as a layer of curvature noise. We've got this and if you notice right now, that looks pretty darn good. But if we go over here and start messing with the UV of it, it's not going to work right. It affected our textures, but it didn't affect our rust and that's because we haven't hook those up yet. What we're going to do is we're going to go in here and make this very customizable and very editable and we're going to use the math things to do that. We've already got some things connected here. It's absolutes here. We have an absolute input of five on this and this is going to those texture scales. This is controlling our textures for our scratches, and we want to be able to control our textures for our noises. Vector scale vector absolute, and we're going to plug this in to all of our noises down here. So we're going to slide this over. You can see all those. We're going to drag this plug into this noise into the general input quartal chord scale and so this way we can adjust the scale of all of our noises uniformly. But keep the ratio between the noises together, and you can see how this already has that we could take these same ones and plug them in, but these are controlling the rust and they're not controlling the blends. We wanted one that controls the blend here. I'm going to take this and plug it in up here as well. Now what we can do is; we can go in here and we can change the scale of this. What's happened? Scale zero. So it defaults to zero. You've got to make sure you change that to one. That's going to give us our material back the way we want it. Now what we can do, and because we don't really want to mess with the scale of the rust. We have all these individually controllable elements inside of our metal. We can adjust the skies with the UV map and that will adjust our scratches. But in order to control our rust, we want that to be separate because that way we can really create some organic looks. What we can do is we can copy and drag this vector scale and now plug this in to these maps that are combined with this color layer here as well as this one and we're going to put that in here, and we're going to go input offset, and we're going to take this, and I'm going to go to input offset or this input offset. Now [inaudible] scroll this back down. You got to remember we got to set it to one which by default is going to change things because actually for the offset the default is zero. No scale should be one, but the default for the objects should be zero. But now we have the power to go in here and we can just start changing things around and so we'll get different noise just by offsetting it. Now I'll have a totally different look and then we can still control the scale and some of our noise if you want to stretch it out or get it bigger wherever. Now it's so big that it's actually missing the object there. Now we have just like infinite possibilities of noises and things and the way it blends, the way it looks, just by adjusting, these few things rather than going in to each mask: changing the seed, changing our stuff, we get it the way we look and then we can get it so that it's manipulate the table. We can manipulate it, and just have this organic, cool, rusty metal look, so there we go, it looks the same. But honestly, you've just got your controllers, that are controlling the top half and one thing you can do is if you want, you can actually select all this stuff that's with the first material. You can go to Tools, and you can right click them and say, Convert to XGroup, and that's just going to put a little box around it. Now you can move this X group around. So now you've got a grid inside of a grid. If you need to adjust the color, you can go in between these grids here. One is highlighted yellow, you can see how this grid is being connected. Everything inside of here is just being plugged in, shows you that, so this way, it's just a clean way to, if you need to look at one texture you can without getting confused and looking at the wrong things and trying to follow all the spaghetti, everywhere. Now have it segregated off in its own little path so It's a little less the same thing with the rest down here, right click, Convert to XGroup, drag that down, so now we've got three different sections. We have our material up here that's its metal, material down here is the rust, and then this is the layer that's providing the mask for the rust of be plan. Just a couple of tips to show off that. But hopefully, I mean that's it you've done it. Now you can hit "Render" on this bad boy. That was a whole lot. Hopefully though by starting off very simple, you are able to learn what each node does, and when you look at an shader graph, or that looks like that, you're not intimidated because you can actually determine, and break it down and seeing what each piece is doing and just follow the nodes, and figure out what's doing what, and how that's working. I might need it up the bump, a little bit, I'm going to do that. In order to do that, this is our rust here. When you zoom in on this, we're on Bump, and we're going to increase that to five. We're going to our Noise here and we're just going to change the scale of that 0.01. We're going to see how that looks like real quick. Move that right here as you can see the difference. So you might need to adjust some things that didn't scale with everything just to make sure, that bump is way too much 0.005, Still too much, turn this back down to 0.002 maybe is close. There we go, okay that's more like what I wanted. You can try 0.003 to see how that looks like. That might be good, zoom out and see what it looks like when it's zoomed down. We're going to leave it at that. Now we'll take the off, hit ''Render''. You might have to make a few small adjustments like that be on every object it's different all depends on scale and you're seeing and how to be wrapped in all this stuff. But hopefully through this course you've been able to decipher some shadow graph stuff, actually understand what's going on, how to combine things, mix things, how to also at the same time going to reverse engineers some textures you can download. If you do download somebody's textures like Glasgow gorillas or polygons or something you understand. I really recommend Glasgow gorillas everyday collection or something because they're work, they're designed for Redshift as well. They're actually already built and it'll be set up, and you'll have the cheat graph there, and you can reverse engineer and figure out what's going on, what's affecting what, so you can start tweaking things and changing things on your own you'll actually know what you're doing. You can make adjustments to things at ramp to things, all this stuff. So just by starting and combining things we learned, we've created this really cool, infinitely possible, procedural old army rust metal and you can change it to wherever you want. It's just really neat. See is this render, the end result is just really cool, and hopefully you're just able now to go back, and if we look at our polished copper and stuff, just because it's simple, didn't mean that it wasn't good looking, and just because this is really complex doesn't mean is great looking, at the same time. But hopefully you're able now to figure out and start messing with materials, start combining things and understand, how they interact with each other, and that's just going to help you reverse engineer things that you find or also build things from scratch and troubleshoot, how to make certain things work with curvature maps, ramps and things like that. Rather than having to go into Photoshop and create a bunch of textures that are perfect and then bring them in and have them work, you can now take textures or noises, and then create them in Redshift and adjust them in Redshift, so you can work inside of it without having to go to a third party program, to go back and forth to try to get it tweak it just right. You can actually just adjust it live, you see it there, and then now we have this noise and so this was like a texture, it wouldn't be able to change. I can just change the seed or the scale or the offset, then this Shader ball will totally different just because we moved a few numbers around the way we have a setup. That's just the really cool power of the shader node. This has been a lot. Now you've created all these textures. I'm going to show you how to save them. 42. Saving Materials: We've finished rendering our image. We're going to save that real quick. Save image. You can save it as an EXR, so it's really raw and you can adjust it a lot. But I just do JPEG's, I'm not doing a lot of post work with this. That's really up to you. We're going to call this old army from tutorial. Now let's say you want to use this material. It's very easy to save your material. One thing you can do, and we'll just line this up so you can see all our materials here. We can make this a little bigger. Here we go. We can select this material. The reason I built this without using the rust reference or the other metals reference and just combine them. Why did I actually copy and paste it in there? Is because now I can save this as a stand alone material. If I saved it and it had a reference image, a reference shader, then if you wanted to use that material, you'd have to also load in that reference shader. Just by copying and pasting those things in there, I got rid of the need to do that. What we can do is go to create where we have it selected, going here to save material. There's a couple of things you can do. You can save a material preset, which is pretty neat. While you'll be working on stuff, you can go down to low material presets and it'll create a user library and it'll put it in there. But the problem is this don't carry over across all projects if you close or crash or something and bring that again these aren't always there. What I'd like to do is I'd like to save material and you can save all the materials as well. But if you save this material as, and so you can call this OLD ARMY RUSTY, all caps, tutorial and then lower caps, just to throw off those OCD people. We'll say save. Now we can go to say, new project. We'll create a sphere and I'll say, we'll, create. We'll go down to load the materials. Load material, we'll say, "Oh, old army rusty please." Grab that. Plop it on there, Redshift RenderView. There's no lights in the scene but that might be okay. As you can see this looks fantastic. But as you can see, it's very small and very intense on this big sphere because it's much larger than our shader ball. But again, you can just go in and adjust the scale of things and those little options there and get it to look really nice and clean on that. Now you have this material you've plotted on there. You're good to go. You have this forever now, as long as you keep that file saved. Another thing you can do real quick is if you go to create, save all materials, all materials final. I'm glad I said final and I spelled materials wrong. Now if I go to my other project and I say create, load materials. You can do this with any project. But if you have a project that's solely materials, the way we're saving this, save all materials final. It's only going to bring in the materials. It's not going to bring in any of the lights and all this stuff, you can bring that in. If you have a scene, that has a bunch of materials that you like, you can do the same thing. You can load the materials without saving them. You can just load materials and open up a scene that you created somewhere and it will bring in all the materials from that scene, which is really cool, really nice thing. Now we have all of these materials. We can throw them all on the sphere. No problem. Instantly apply them and they look really nice and cool. You can just start putting them on. Everything that we needed with them is here and we've got all this gold, copper, bronze smudge. Of course we need to adjust some stuff. Obviously, it's not going to look very good without the lighting because the lighting is very important for your materials, but that is how you save them. If we wanted to do this crack material that we had, we go down here to save material preset. You can name it crack. That's good stuff, not drugs. Let's go to the shader ball. That's the scene I'm in. Let's go this untitled one. We say create, low material presets, user library of materials. There we'll see crack right there. Load it right in and then we can drag that in there. Put it on there. That's a couple of ways how you can save your materials and then load them in individually. If you want to load each one, I would suggest making a folder somewhere that just has all those scene files they have. They're going to be smaller scene files because it's not bringing in the lights and all that stuff Geometry, it's just bringing in what you created in the shaders. Very fun. I believe that's it. There's so much more, so many more materials to make. That is how you can save your materials and package them up. Next, I'm going to show you a ton of great resources for materials and things like that. 43. My Favorite Resources for Textures: For this last tutorial, I'm just going to show you some resources to get some nice texture maps and grunge maps and things like that, that we can use. The things that you've learned in this class and inside the Shader Node apply beyond metals. They will apply plastics and things like that, and wood and all this stuff like the bomb and the overlays and the coding and mixing and blendering and layering things. All that stuff is applicable beyond just metals. I just want to show you some resources and stuff like if you can't create grunge maps and stuff on your own or you don't want to, and you just want to buy some that are like really nice. I want to show you some resources that are available out there. The first resource is going to be textures.com. They have a lot of cool stuff. They've got PBR materials, 3D scanned materials. They have a lot of stuff that's a substance material. With substance, you have to bring that in to Redshift and use a special node to import that. You've got all these things and you can sort, if you go to say overlays, you've got all these granges and abstract things. Some of them are free and some of them aren't. Most anything is available to download and a lot of these apparently are not, but a lot of textures like doors and things that are available. You've got all these doors and things you can put on stuff, but in order to get the 4K plus versions or the large high res versions, you're going to need premium credits. They have free versions, but let's say you just wanted to look at metal. You want it bare metal just because you wanted like a nice look on your metal that you wanted to use for the diffuse or whatever. You have these and you can filter these actually by seamless. Up here in the top right, you'll see Show Seamless Only, which is going to be important. Most of the time, you're going to want seamless textures and that's going to mean they're going to tile with you and not have hard edges where you can tell where they're repeating. This is a pretty cool one. You can download the free one at 1000 by 1000 and so you're limited by the size, but this is just some options out there. It's a very cool site that has a ton of really cool 3D things and textures and stuff like that. You can get a membership for and do that. Another site that's pretty nice is called Texture Haven. Just like HDRI haven, which is another place where you can get free textures, this is just a place where people upload materials and you can download them. If you look at the textures here, we've got all these textures and they're really cool, really nice detailed textures, bricks and marble, floor, ground, planks, dirt, cobblestones, all of these things. To download them, you just click them and you can download them. They come with an iro map, a diffuse map, a displacement map and a normal map, which is the bomb map, roughness maps, roughness AO. In Redshift, you don't really need an AO. If you want to apply AO, you can do that in post just by putting an AO material on everything and then layering that over top of your scene. But you've got all these options here. That's pretty cool. Next one, the one that I really like is polygon. Polygon is by Andrew Price from Blender Guru. He's got a lot of really cool things. He's got a ton of grungy maps and stuff. I think he has one sorted by overlays, yeah. You can filter it and you get all these streaks and things and smudges. There's all kinds of fabrics and patterns and metals and marble, all these things. But he has some free ones that are pretty cool if you see here. You can filter that out by Free down here. It's a subscription-based pricing system. But with all these free ones, you'll get access to these materials like this smudge map, I believe I used this in one of them, this roughness map. But you can get this metal here and you can see what it looks like on a cube. This is really nice. It comes with a diffuse, displacement, a gloss, which is the roughness reflection, all this stuff. Reflection and gloss are pretty similar. Normally, you can exchange the two just to see which one you like better and the roughness he designs, his stuff for, more for blender, which the editing in the render, in that the textures and materials have different inputs and other stuff, but all of it's applicable and you could choose the resolution up to 4K. Some of them go up to like 40K, which is insane. That one was pretty cool. Another one I like to use a lot because they have a lot of really nice seamless textures is sketchuptextureclub.com. They have some free 3D. They just have a bunch of textures like architecture materials, bricks, tiles, things like that, natural elements. If you went to like architecture and you wanted to go with some concrete, or plaster is a good one. You can go to plates. All of their stuff is seamless. Well, not all of it, but it'll tell you if it's seamless so you can get that. It is free as far as the lower resolution. Again, if you want this super high-res version, you're going to need to have a membership again, but they have a lot of nice free ones that will work well for stuff. There's a lot more than what I'm showing you, but this is another one that I mentioned a few times and that's the Greyscale Gorilla Everyday Material Collection, as well as their Modern Service Collection. These ones are built to work with Redshift, so if you have Redshift, it's just going to come right in. It's got a bunch of nice materials and things to choose from. It's really fun if you buy these, these are a onetime price, they're not a subscription. I think you also get access to them with Greyscale Gorilla plus, but I'm not 100 percent sure. You do get access to the materials as well with the subscription service. They have a lot of really nice stuff and the benefit of that is, you don't have to guess where it plugs in or plugging things or things are named differently. You load them into Redshift and they work instantly. That's really cool feature about those. There's some resources. Lastly, we're going to talk about your assignment. 44. Your Turn!!: If you made it this far in the course, you are amazing. For your assignment, what I want you to do is render out and create your own metal and put it on that shadow ball and then post that image in the discussion. If you'd like to take a screengrab of your shadowgraph and put that in there as well, that be really cool. But if there's a material that you don't know how to create and you want to create it, post that in the discussion as well, and I'll try to help you create that look. You guys are the best. Thank you so much for watching. Hopefully you learned, and as intimidated by the shadowgraph, and you're able to create some materials now. It really means a lot, and if you guys could give a good review, that would mean a whole lot to me, just helps me out a lot. If you enjoyed the course, let me know. Give me feedback of what to do and what to do better and stuff like that, what you want to learn next. Be on the lookout for more courses coming up. I'm always making them. I always want to teach and learn. I love feedback from you guys for what you would like to learn. Please anything you wanted to discuss, please put in the discussion. I check it regularly so I will be here to help you. Thank you so much. You guys are the best. See you next time.