Creating Realistic French Fries in Cinema4D & Octane

1. Introduction: How is it is going guys, this is Patrick again. Thank you for joining me for another Skillshare premium class. We got a nice one for you today and this one's pretty interesting because it actually replaces the need for DSLR camera and lighting and anything else you'd want to shoot food photography. We're making this nice little abstract organic combination of french fries and ketch up, which I think a lot of people really enjoyed. At least on Instagram they did so I thought we might as well make a class, especially while this Coronavirus stuff is going on. I tried to be light on the plugins. You really just need Cinema 4D, which everyone has already if you're watching this and octane. Especially for the modeling part, you really don't even need octane, that's just for the texturing and lighting. I think we should be good there and it's a pretty swift class, pretty straightforward. I think we'll be able to create some nice imagery from it. Stay tuned and we'll see you the first video. 2. Modeling & Cloning of Fries: What's up guys, this is Patrick here. This is day 20 of Coronavirus. I'm sure you guys are all at home waiting for this. There's not much to say other than I haven't made a class in a while. I think what I decided to make was something along the food series that I was making, and I think you guys are going to like it. This one in particular, I think we can bust out. I've been a little busy. Fortunately, a lot of people aren't working as much nowadays, but I have been a little bit busy. I think this fry render, which I think looks pretty realistic when it comes down to it, will be a decent one to start with. I should be making more as this whole thing keeps going, this whole virus, and people are home more. I think that could be useful. We're going to be going here, of course, we've got some catch up floating around this abstract way. We got the fries, a bunch of different types of fries, curled around, the clinical fries, the best kind. We got the salt everywhere. I'm going to show even how to make the salt using some scatter. I think that's pretty much it. I think we can jump on in here. Hop in the Cinema 4D here and we got a basic default layout. I think we're good to go. I'm just going to delete this camera that I think I set up by default on my own, and now we're here to begin.The very first thing we going to want to do here is, I guess, get rid of this grid. We don't need this right now. So let's go to filter, grid, and we got this blank space here. The way I made, I made this a couple different ways before making this class. But I think the easiest way to start might be just making a cube, simple enough. Then just going into this four view point mode, we got top, front, right and perspective. We're just going to make a fry outer shape, so simple enough. Let's go to the front and make a generic fry length. Honestly, this is up to you. This is why it's a very malleable class here. You can make the fries however you want. I'm going to be making them like this. Then here, this is a good top view. I think these things are usually square from a bird's eye view, and then it should be good as well. The other big important thing here to notice, and before we start bending this thing is we're going to end some segments. If you go to the display and go to the garage shading lines, you'll be able to see that there are not enough segments to bend. If we were to take a bender former and hop that on and start bending it, there's just not enough segments, or I guess 3D resolution might be a cool way to talk about it. There's not enough going on here to make it bend, so that's not good, and there's a bunch of different ways you can make this fry. Before I get started here, you could do everything from taking a rectangle spline here and taking a spline and making whatever design you want for the fry shape, and then using a sweep nerves to map it along that spline. But I think just for this tutorial, it'll be easier to do it this way. If we take this band and give it a little bit of a twist here, maybe like 50 degrees. Nothing is happening because we don't have segments. But if we take the cube and add some Y segments, we're going to start to see some resolution there, just enough to get us our band that we need. There are some other things that we're going to do to this thing before we actually start to bend it, but we can leave this bent on here for now. We can just exit out. As we can see here, these segments look like what we're going to be going through, these ridges here. We're going to be relying on the amount of segments pretty closely related to the amount of grooves we're having, and of course, you could do that with displacement on the material as well. But I think for this, it might just be easiest to do it this way. However, it will be a little bit destructive. Well, let's increase this length a little bit, maybe something like that. Then just being mindful with the amount of segments you have, so let's go instead of eight segments, let's go maybe 14 might be good, maybe 16, and we can stop there. Then the next thing you might want to do is maybe add a little bit of the fill it. As you can see that already takes care of like most of the fry shape. Now, all that's left is to deal with the grooves. If you want to save this fries as a template, let's go to fry, non-destructive, and then we can just copy that over here and make sure that's invisible because we're not going to be using that, and I guess that's just in case we start messing up things. We want to start over from scratch and then we can just put fry right here. Let's cancel out these words and then make it editable by just clicking this guy right here or C on your keypad, and you'll see now we have all these segments to mess with, and the easiest way to start making these grooves are to go into your polygons mode and then hit U and L on your keyboard, and that's going to let you select the loops here. I like starting with maybe this guy and then skip one, skip one, and I'm holding down Shift as well just to keep these things highlighted, and if you decide that you don't want one of them highlighted, you just hold down Control and click. This should be good for now. Yeah, I think that's good. Obviously, the next thing you do is pretty self explanatory. You can just go to extrude, just extrude in, just a tiny bit, and this looks unnaturally geometric here, and that's because what we're going to be doing is putting this whole thing into a subdivision surface. Once we do that, we just click that guy and drag this underneath, and now we have a nice little fry texture. Or I guess we've got some nice fried geometry here, and if we go to the ground shading, starting to look a little bit more accurate, and even if there is some subtleties that don't look too accurate right now and it's going to be saved within the texturing of this fry. Obviously, because we still have this bend to former, we can bend these things. I guess what I like to do is take this and go to unlimited, and then we can bend the whole fry. But if you see that the fries starts to become a little bit more elongated than you wanted. You can just click the keep y-axis length. So it won't actually change the length of the fried, and that might be the play to go, at least in this class here. Then to make the variations of fries, this is actually very simple. All you're going to do is, let's title this fry 1 maybe just fry, and then you're going to duplicate that. Or you're going to control and drag, and then let's just change this one. We can make that, this first fry invisible, and then we're going to take this here and maybe change the angle a little bit. Let's go angle and strength, and then we can see we have two different types of fries, just chilling, basically in the same position. Let's duplicate it again, and in this one, let's have maybe less of a bend or something, it's more standing up straight, maybe change the angle a little bit. Just these little subtle changes between fries, is what we're going for. Then fry 3, which apparently is fry 4 in this arrangement, let's just change the angle a little bit more and make it maybe a minus 7 string. So you going to see we have like four different types of fries are ready in the same space here, and that's going to be key when putting these things in a cloner. I think that's good for now. You could do this a bunch of different ways. You could just texture them one at a time if you want, or you can just make this whole combination of them floating around and then texture them, which is what I like doing because I like to see the finished form for getting the textures right, but that's just a personal preference. We're going to take all these fries here, we can chill out on these guys, so all these are within their hierarchy, and that's what we're going for. Of course, we don't need this still, this guy can just be chill in here. What we're going to do is highlight all of these, and then we're going to go to MoGraph, Cloner. Then before you click it, you're going to hold down Control and Command or Alt if you're on a PC. That'll make all of them a child of a Cloner, instead of having a Cloner for each one of them, because we want these guys to be together. Of course, when we're going to go to mode. Let's go to grid array, and we're going to go from instance mode to render instance, because these are all going to be generally the same. I'm not going to be messing with them individually, and this will speed up the render times and your view point activity immensely. Then with that being said, all we're going to do is spread these out a little bit. Let's go here. Spread these guys out, spread these guys out, and on the top as well. As you can see, they're still not randomized at all, they just look like this weird 3D software made combination, which is now what we want, of course. What we can do, first of all, is take all these and make them a little bit smaller, that looks about right. With the Cloner selected, we're going to randomize these, we're going to go to MoGraph, Effector, Random. You can see that didn't do much, that's because the world space that we're in is big. You can make everything smart because we're having these fries just by themselves in this abstract space, but nothing else in it. It really doesn't matter how big the world spaces, it's going to matter when we start texturing, but you can just manipulate the textures as we start doing that. In this case, it doesn't really matter. We're going to take the random, want to take the X a little bit, take the X maybe 230, or whatever. As long as these things like randomized. Again, with this whole process, like everything you do, it really doesn't matter. Don't think of the values as much as how well it looks to your eye. We're going to go maybe like that, and then on the Z, randomize that as well. This is starting to look more randomized, but we don't really have any random scale or rotation, so let's take the scale and maybe for these ones on the X because that might get a little bit more of a natural feeling, maybe just uniform. It's going to 0.104 and then the rotation, again just by your eye, how well this all looks. Now these things are all extremely randomized. Of course, there's different random modes you can use to make them feel a little bit more random to your eye. But this looks good to me. If you want these things a little bit closer, that's totally fine. I would actually maybe recommend it. Let's get these guys a little bit closer. We don't want though is these things to be intersecting. If we can find any, of course, this is what we don't want it because that doesn't look realistic. Even though we're going for like an unrealistic kind of environment, like they're being thrown up, we don't want these to intersect. With the cloner selected, we're going to take the MoGraph effector and push apart a effector. You can see that didn't really do much because I think the radius is still too small. We're going to take the iterations, boost setups like 51, and as you can see, once you start moving these things around, they're not going to intersect. I usually just goes very slowly until none of them intersect, and I'm keeping an eye on these ones right here actually. Keep going, keep going. Those are intersecting, these ones are. Let's go a little bit more. Now, they're not. Now, i don't really see any that are intersecting. These ones are close, but they're good. This is something that actually looks pretty good. That's a good formation that I'm actually happy with so far. Even if it looks a little bit empty, remember we're going to still be using some catch up to fill in some of these gaps and some salt. We're looking good here. 3. Camera & Composition: The next thing we're going to do is set up our camera. Let's create a camera, and we're going to be working in Octane this time. What you're going to want to do is just take a regular camera, and this is a good time to start setting up the proportions here. As you go 1200 by 1200, while locking the ratio and that should be good. Set it to Octane Render and everything else should be good. We are not worrying about an animation, so just worrying about a single frame. That should be good, and then if you click "Shift" "V", that should give you your borders that you're looking for. Your opacity under the view tab should be a 100, and now we can see exactly what we're looking at. Don't forget to be in the camera. You're going to click the square, and then for something like this, depending on if you want shadow that does fill it or not, I think generically if you're shooting this in any real scenario, maybe be in like 50 millimeter or 80 millimeter, I like the look of an 80 more, it gets everything just grounded in place. We're going to take your coordinates and 0 them all out, except for the Z is going to be minus 1000, and then take these and 0 them out, and all you're going to be left to do is take the coordinate on the Z and back it up, and that looks good, a little bit closer, and then from here now that we have our position locked, let's take the camera, right-click not only add an octane camera tag, but a cinema 4D projection tag, and now we can't move the camera no matter what. Now that just comes down to moving the actual formation of these fries. So whatever you think looks good within this given camera, and again, if you're not happy with any of these formations that you can make, all you have to do is take the random effector and go change the seed, and because we still have the push apart effector nothing should really be touching unless we have some anomaly where a couple of fries are touching just coincidentally. But this looks good. Maybe you give it a little bit of a rotation and it should be good. Something like that looks good as long as, taking a look at the composition, and if your eye has a trouble time seeing the grid lines here, you can just go to the camera, composition and grid, and so you can see everything's pretty much falling within range here, and that's good. 4. Modeling Ketchup using Splines: The next thing we can do is maybe worry about the ketchup and this is a very fun way to make this stuff. There's a million different ways to do it, but we are going for this sleek drippy look. I guess exploding like in this, the thing that's good about this technique is you really can't see any procedural pattern or anything within this. It really just looks random, like it was thrown up in all of these fries. What we're going to do is go to the Pen tool and then honestly you're really just going to be drawing where you think the ketchup should be. Usually, I happen to this mode here and draw in the because we're front-facing here, everything lines. This fries clearly this arrangement, this guy lines of this so going through the front mode here keeps everything within the same axis when drawing with the Pen tool and so what I like to do is just go, you can just draw wherever you want the splashes to be centered around, really randomized here. That's the only true way to get this stuff really randomized and you don't have to rely on other best thing about doing it this way is you don't have to worry about. You've got dynamics and having things fall into place, you literally choose where everything's going to be. We have this kind of this ketchup kind of going around in all different places and to a randomized it a little bit more, do your thing with, take some of the splines, drag it back, take some drag it forward, just to make it much more randomized and really in the scene and this is looking good. As you can see the status, now we give it and we're kind of hidden every axis here before it was just the, I believe, x-axis and y. Now we have some z motion going and that's honestly realistic because you don't really have anything in real life, a100 percent 2D many, even if you didn't do this, you really probably wouldn't be able to tell with one camera angle, so you would've been fine either way. But this is looking good and if you hop back into the main camera, looking great. The next thing I would do is maybe just going to model mode and go into mesh axis, center axis and then you can kind of just refine this whole of shape a little bit if you don't want them bleeding out too much and that should be good for now and cool. I think what we want to do is actually hop this whole thing into a volume measure or volume builder then measure in this menu here. Let's get a volume builder out and take the spline and put it inside and you can see we're finally getting some geometry here, not official geometry because we haven't put it in the measure. So let's get to measure out and just drag us as a child, now we've got some geometry. If you go to the volume builder and go to the spline, let's take the density up so we don't have to worry about little dots. I guess the density kind of refers to sort of the resolution of the mesh itself. I usually just crank this up after a certain point and stops doing anything. The radius, and let's think about it if we have any kind of catch up. The general radius of this stuff, I mean, it's pretty blobby and pretty big. So we're going to want this stuff to be somewhat big and let's go back to the display lines. This stuff's pretty dense, I don't think we necessarily needed this dense, so lets go to five, maybe six. For the voxel size, let's stop it seven for now because we don't need that to be too dense, at least not yet so let's go to the radius. Crank this up even more, it looks good and of course, this stuff is not looking like ketchup. That would just be absurd, we need to do a bunch of stuff first. The first thing we can do is we're going to do is subtract from the shape and that's going to give us our abstract kind of organic look and so for that, we're going to go to volume builder, take this from a signed distance field and go to fog and this is going to allow us to do what we need as far as dragging in a shader factor. Let's go to a field or shader field, my apologies, so let's go to shader field, drag that on top of but underneath the volume builder and as you can see, it's only affecting a square by default. Not sure why that is the default option, but if you go to box, let's go to objects, and then it disappears, which is what we want and then we take this normal mode and take it to minimum so that's pretty much going to say whatever noise we give it to subtract from the spline. Now if we go back to the shader field, everything setup, so if you go to the shader noise, now everything is being subtracted from this main noise and the reason why this still looks weird is because the noise we're specifically using is too small. Let's go to something like 600, getting bigger. This might be some kind of milkshake looking texture, but we needed to be bigger so let's go to maybe 1200, getting much better. Something else you'll notice is this is really rigidly and that's not really what we have to deal with it all with the ketchup or anything like that, this kind of looks like some wooden texture. Ketchup is kind of like at some point a liquid. Let's take a smoothing to former, drag it on top of the builder and below the measure. As you can see, that smooths everything out immensely so let's take the smoothing and drag that stiffness all the way down to zero and take the iterations up a lot more. You can see the more we go here, the more fluid and milky we're getting here so maybe grab it to like 100. That looks good, and the reason this is still looking weird is because we have to mess with this noise. You'll notice if you take the high clip down, it's kind of minimizing our effect. If you take the low clip up, that's kind of getting a little bit more of what we need and this is just testing out the noise so far. Let's so let's test out some other noises, and this kind of disappeared because of the way we're kind of working with the texture so far and the smoothing really does a lot of taking away of the unnecessary info we don't need so I think we can honestly start with some turbulence and maybe bring that back a little bit. I think we're still going to need a bigger noise. It's go like 2500 and start subtracting and the thing is you can kind of mix and match different. You can max this noise and then go to the measure and change the threshold to kind of bring certain elements back in and the greatest part about this is because we're still messing with the spline, we can change everything we need to just by changing some of the points so it's really non-destructive. You can take this, move it back and a noise changes appropriately. That's another quick tip, or not actually being destructive at all with this method. If you want, this could be a cool ketchup texture as well. I think mine the only difference was there was a little bit more splotchy. But this is cool as well so it really just comes down to changing up some of the values. Cool, and then of course, because you have all the seeds in the world, you can change this, how you need. Can start messing with the iterations a little bit more. Also bringing back some of the so that necessary information and then maybe take the low clip up a little bit. If it starts looking a little bit slim, remember, you can take the spline radius that we had initially and mess with that even more. That's an 80, maybe take the smoothing down to like 200. Maybe 100 and take this down a little bit. Now we're kinda getting more chunks here, I'm not sure we need a 100 and maybe 50. It's really just playing with these values till you get something that kind of looks like something that you would need. A pretty good take the smoothing up a little bit to give it that fluidly look, and yes, this is generally kind of looking a little bit better. Let's take D voxel up a little bit and remember we have even the voxel size to mess with here as a means of kind of achieving the shape we need. That's somewhat the contrast a little bit and even taken the spline, this whole shape and just make it a little bit smaller. Now depending on your voxel size, this will take a little bit, of time. I think I'm happy with that, that'll be a good kind of ketchup, the shape we can start working with and it looks good. 5. Modeling Salt: The other thing we have to worry about is the salt. The salt, extremely easy just taking a cube. Let's solo this out. As we got this one piece of salt, because we don't have to worry about the camera and now I can just hop out of it. We've got this salt piece here and salt if you look at it, I don't know if you can tell from this picture here, actually you can't at all. But it's pretty rigid, you're just going to take this, and collapse it. Let's give it a displacer. So have this displacer on top of the cube, shading, noise, something like that, looks good, but we also need some beveling, with this selected, you're going to have to add a null. That's enter command G. Let's call this salt, and then we're going to have a bevel on top of here. You can see I did a little bit, but we're going to need a little bit more. You can cut off, I think you can just cut off this phone tag here. We don't need to worry about that, because salt when it comes down to it, it looks like that. So all we need to do is take this salt, make another one, displacer, minimize that noise, take another one, minimize that noise inside the displacer, and maybe one more, and there we go. We have a nice little salt chips that we can use for this. Next part we're going to do is take that into a cloner. Remember, Control Alt, and then all of them will become part of them [inaudible] to render instance for sure. That's going to allow us to have many of these without any problems. Ten by 12 by 11. You can see, all these salt plays, isn't it? If it seems like the computer still finds this a bit too slow, we can use a scatter, an octane scatter since we're using octane. Let's take all those and make them a little bit smaller. You can see even messing with them, they're still changing every time, which is nice. So I think we're definitely going to need an octane scatter. Let's just minimize that for now, and we hide these until we're ready. We built those we're good. Let's un-solo everything and we have our Fry texture. 6. Lighting: The next part is lighting, so we can light this thing. The next thing we're going to want to do is, let's go into our octane dialog here. So let's go octane, live your window. So we're going to be good here. Let's drag this guy to the right here. Now we have two windows that we can see everything from. We're going to want to do is click render, see what happens. Looking good. But the problem is, we need our octane settings to not be in this mode here let's go to direct lighting to path tracing. That's going to be very key when talking about the subsurface scattering that we're going to need. So max samples 100 is good for now, GI clamp one. I think that's all we have to worry about now so we can exit out of that. The next thing we're going to do is go to objects HGRI environment and for now we can just leave this black. We might have to add an HGRI and a little bit, but that should be good. Next thing is, let's create an object, light, octane area light. As you can see stuff starting radiate around because we are in path tracing mode. Let's increase this light as needed. This is going to be our top light, so maybe increase this a little bit. Go into our front mode. Let's rotate this 90 degrees and just drag this up. Looks good. We're getting a lot of clipping there, which is not what we need. Before we start messing with the light settings, let's go into our octane camera imager. While on this panel, let's enable, then we're going to take the highlight compression all the way to one. That's just going to give us a more dynamic range. If you go left to right you can see there's more information to color with later. That should be good for now. Let's take the top light and just take that down a little bit so it's not so harsh. Then we're going to duplicate the top light and just control, drag on the X. Maybe bring that down a little bit and rotate this to face the fries in any direction that you want. This is where you can start messing with the different, you know, how far, front and behind. I think I had a nice dramatic lighting on these fries last time. If you ever feel like you want to get closer to the fries, but you're going to be seeing your light, that's no problem. You're just going to go into your settings here and take the opacity down to zero. So that should be good, at least to start, maybe we need to bring these light a little bit back. Cool. Maybe have it a little bit brighter. Looks good. Even if it's clipping a little bit, these are white right now, they're not going to be so that's totally fine. Let's save this while we have time, and S. I go to my skill share classes, tutorials, premium french fries, and we're going to type in ' SkillshareClass_FrenchFries_01. That looks good. Now I think it's good to start texturing these things and maybe add a HGRI just for the whole of it. We're going to click this guy here. Texture, load image. I've a bunch of HGRI's kind of presets that I'd like to use. For instance, this guy right here, looks good, just found it online somewhere. I encourage you to use any kind of HGRI that you want as you can see and give it a background and brighten it up a little bit, but we don't need to worry about too much. We just need distinct outlook, pure black. So that's good. The next thing we are going to do is just duplicate this guy. Then take this guy here, primary environment to visible. Then take this texture to color and drag it all the way down the black. So now we have the HGRI working, but it's still on pure black background. I think that should be good. Yeah, I think we're good so we can start texturing this thing. 7. Texturing (Fries): Now what we're going to do to start texturing, let's start working on the fries. Let's take a material, I believe we want a universal material and then I'll cover all of our needs for our fries. Let's drag this on top of our clutter. Looking good. So if you want metallic fries, you should be good as this. But for us, I think we're going to take this lock and maybe lock-in our position here to something like that. I think we're good to get started here. So we have the Chrome texture on these fries that is now what we need. What we are going to do is open up the node editor. Let's just click up the material out here and click the node editor and this is what we're going to be working in. We got this guy over here, we can drag this wherever you want. I'm going to probably have this up hear as its own window for now, at least just so it doesn't lag within the B port. I found that sometimes putting this in as some sub box within your interface, it doesn't always update in real time. But because we're just worrying about the texturing and seeing what it looks like, we should be able to put this over this window over now and that should be good. So you got here, you got your all your different settings here, what we are going to do is: one, take your albedo, and let's take that down to black for now. We're just going to try to get some glass texture, the transmission all the way to 100, pure white. I believe what we're missing here, let's take our specular up to white as well and the metallic to zero and now we have glass fries. This is going to be important because we are going to be using some subsurface scattering. My apologies. So we're going to take this and before anything, we're going to take the common and take the fake shadows tab and turn it on. That's going to help with just irradiating stuff inside of it a little bit. Anytime you're working with anything somewhat glass, that's always good. So let's see here, you're going go to the medium tab and then you're going to click the scattering medium here. That's going to take all the color out and all the light, there's going to be our first step to, we drag this stuff over here a little bit, over here to give ourselves a little bit more space. So over here, we're going to populate this thing with an Rgb spectrum. Let's drag that in here to the absorption and drag that to 100 percent white and we got color again. You have to think about fries like when this light hits the fries, what colors being radiated inside? I guess that's a yellowish, orangish. So we're going to give this color a little bit of a yellow, orange, something like that maybe. Now they look like Jello, but that's completely fine. We're going to go to a float texture and drag it into the scattering and already we're getting something that looks like a fry, a little bit more like a fake plastic fry. If you drag this all the way zero, we're going to get that jellowly look, drag this all the way over here. It just spreads the light out even more and that's completely fine and that should be fun. So let's take the scattering and take this down a little bit. Now we've got these things really irradiating this light all around us. These almost look like uncooked fries at this point. We're going to mask some of this with, some albedo so first thing we're going to do is take a mix, drag that on here. Now these things with 100 percent white, it covers all of the transparency. So that's why we're blocking this out. What we're going to want to do now is take an Rgb spectrum just to start off with, let's take a white and let's take a black and drive it all the way there and I can see it's half showing, half not showing, that's fine. But we want is to keep this 100 percent procedural, lets take noise and let's use that as the amount. Now we're going to start getting some differentiating shapes here. Lets take the Omega up a little bit. Let's take the contrast up a little bit. Actually, if you take that to 100 percent, we can actually see really what's going on here. We don't want these things to be stretched like they are. Just taking the contrast up to 100 or 1000 is an easy way to see where you are as far as this stretching and what you need to do. So let's take the projection and transform out. As you can see we already started to build some little node tree here. So let's take this from mesh to box. Now its much better. This is of course too fine. So let's take the transform and scale away up. Looks a little bit better, maybe a little bit farther up. Looks good and then maybe something like that, cool. So it looks good to me and of course, this stuff does not need to stay on 1000 percent contrast. Now instead of the white here, let's take this down to maybe a fryish texture or fryish color, not bad. So we're starting to get a little bit nicer here. Not every part is completely radiated. Let's take this down a little bit. Cool. Now the other thing we have to worry about is the texture quality of this stuff. So our roughness. These things do not need to be a 100 percent glossy like they are or clean. So we need some bump and some roughness. So let's try to keep this with 100 percent noise. So let's use a noise into the roughness. Just like last time, maybe we can kill the albedo and take this, put it in there just so we can see what we're working with here. Take the contrast up. Of course we're going to change the projection and transform. Let's take that to box. Sounds good. Let's take the Omega up, octaves. Let's go to turbulence for this one and then with the gamma, that's how we see what's going on here. That should be good. Let's take the contrast down. This should be a good starting texture for the roughness. It's a pretty grayed out, we're not going to get too much gloss or anything. So let's take that and go to the roughness. Looking good. Let's go back, take this to the albedo. So we're definitely getting there. At this point we can finally see that these are fries. But we still need some texture qualities and specifically in the bumps. So if we take this and drags the bump, lets see what happens. Reading some kind of quality I don't know if you can see I'm using 228 [inaudible] by the way so if my stuff seems to be rendering a little faster, that's totally why. Let's take this black texture up a little bit. Take that, maybe a red, like an orange, take this, cool. Let's go back to 0.6 here and let's rough these things up. I think we're going to need a little bit of displacement. Let's take the displacement tab and actually, before messing with the displacement tab, I think we have enough segments to use a displacement to form around some of these fries. I think, what we're going to do is we're going to take this stuff here, we're going to minimize the node for a second. One thing you'll notice is that these fries are all similar in geometric quality. We're going to take each fry and slap a dis placer on these things. Once we have this whole hierarchy up, let's just slap a displacer on top of all of the bends. They will still bend, but also they'll be displaced as well. Let's highlight all the displacers. I think we should be fine because we have a random effector to just displace these the same. Let's take the shading, go to noise. Let's go to 10. Maybe take the noise to something like turbulence. I think, actually if the bends are above the displacers. Oops, I don't want to do that. Yeah. I think that's what we need. Cool. Let's take the displacers again. Pick the Noise. Actually let's go to Object, let's go to 20. As you can see we're definitely getting some rougher edges here. Honestly that's looking good. Let's take the Noise, go to 200, maybe 300. You're really messing up these fries as we speak and that looks good for the geometric level. Everything is looking fine. We roughed everything up a little bit, maybe change the seeds a little bit and you can see what's happening. Then let's go back to the Node Editor. Maybe add some Displacement. Let's go to the Displacement Tab, Add a Displacement and of course, to keep this stuff alive with the noises, let's bring in a Noise. If you drag the Noise to Displacement, nothing will happen because we haven't baked this into an Image Texture. Let's go to Baking Texture and drag this in-between. You can see what's happening here. This is not what we want at all. We want is to increase that stuff that's going on here. Let's go choose Turbulence and let's go to the Displacement Tag. Let's go to Height. Let's go to one and drag the Mid Level all the way down and the level of detail to about a 1024. That should be good. I believe if we take this and go from Projection to Cubic, that's going to fix our problems there. Let's see what we're looking at here. Let's change our octaves a little bit and our omega and let's see what happens if we take this height to three. We seeing any difference? Yeah, I think we are. Let me take the mid level 0.5. This is really just playing around with these settings. Of course, let's take the Projection and Transform here. This is where we can switch up the scale of this noise. Changing the scale of this noise from this hierarchy instead of here, is going to be much faster. Let's go to Box and get that up a little bit. Of course, this is going to start getting a little bit slow, but it's pretty necessary. That's looking pretty decent with the amount of, head that a little bit higher. Cool. This is looking fine. Let's take the Displacement, let's go to five maybe. I'm still trying to see if I can see some major deformities. Yeah, I think we're definitely getting somewhere. Definitely over here you can see that, maybe six. Keep this at 0.3, keep them looking thick, let's go zero. They have their weight to them that they need. See those are good, but these aren't dark enough so let's go back to our hierarchy here. It's going to get a little bit messed up, let's move everything closer. What we need to mess with is the albedo right now and actually first, just mess with the transmission. If we take this down, this stuff is going to get darker. These are starting to look more burnt so let's take this down, maybe give it a little color. A little bit of a yellow or orange. That's looking much better. Taking it down a little bit, maybe. We're starting to get this fried texture that we need here. I think actually let's take the gamma a little bit back on the bump and the roughness because we don't want too much shine at all. Some of the shine, maybe will reflect some grease textures, but this is starting to look good. Cool. Maybe a little bit less on the subdivision surface or subsurface scattering. Save the density up a little bit. Cool. As they're starting to look a little bit charred. Let's take the transmission. Bring that up a little bit, back to 100, I guess. Bring this a little bit closer to a yellowish texture. These are looking a little bit better so let's bring these. Let's see. Cool. That's looking good. It's all about adding and subtracting these values to get the perfect mix to make these textures look real. Let's take the density down a little bit to add in some more light in there. It's way too much. A little bit more. Let's take the RGB Spectrum in here and pump in some more yellowish light here. That does not necessarily have to be that reddish. It's given a nice look, but let's drag that little bit. That's too yellow. That's looking good. We're actually looking good with these fries now. The texture is looking nice, maybe we can get a little bit more glossiness in here just by increasing that a little bit. Maybe undoing some of the contrast. A little bit more glossiness within the texture and we haven't even gotten to the ketchup. But this should be good. I'm very happy with this texture as of now. You guys understand the process, so we can save what we have so far. This is the texture for the fry. This is looking good. 8. Texturing (Ketchup): Let's now work on the ketchup. For the ketchup, I think all you need is a very simple specular material. We can call this fry, we can call this ketchup. We're going to drag this on the ketchup of course. Let's drag this onto the ketchup. If you want them swirling around water, I guess you would have it already. Let's increase. Let's take the common, of course, take the fake shadows up. Go back into our node editor. Let's see. Stuff's starting to get a little bit slow. We're looking good here though, this looks like fries. Let's go to the medium tab scattering. I think, for now, just so this thing doesn't have to render every single time for so long, let's go to the octane settings and take this down to like 50. That should be good. Let's take the RGB spectrum, drag it into the absorption. Drag this all the way up and get a little bit red. This would be like, of course, jello floating. We don't need that. Let's go to a float. Lets go to scattering. Now, we're in a good place. Let's drag this a little bit more towards the water, but of course, we're not there yet. We want this to be a little bit less red and for this to be a little bit more closer to catch them. Let's take the transmission. Now, drag this closer to red, and now, we're really getting this ketchup look here. It's pretty bright, but I think that's how a ketchup would react. Let me darken that a little bit. We're actually getting some good quality stuff here. I think that's good. For now, we get a little bit of light leak in there so maybe we can take the density down little bit. That looks good. Kind of like ketchup. Maybe increase this light a little bit, little bit more, a little bit more. That looks good. That definitely is giving the appearance of ketchup. Maybe decrease the red a little bit. We'll be pumping more red in. Remember, this is kind of a flatter image. You don't want this image to be too saturated because you'll be adding that later in Photoshop , but that should be good. Maybe a little bit less of this stuff, and that's looking decent. Bunch of red light coming in. Take this all the way up. You can clearly see that you're getting a lot of light hitting this area here, and that's looking good. 9. Salt & Render: Now it all just comes down to the salt, and with the salt, I think you saw over here that scooter display quick shading, with the salt I think the clutter was a little bit too much. Let's take, instead of the clutter, let's take all these things out, kill the clutter, and get an octane scatter. Let's try that down here, and then we're going to take all these values into the scatter, and then to make this easy, we're actually just going to clean it onto the ketchup so let's go to distribution surface and then onto the ketchup. Of course this is way too big, but before that lets go to graph a vector random and drag the random factor into the scatter effects, and we're going to take the parameters just going to keep this here for now, let's go to scale, scope 0.25 and rotation of course we want these all to Euro tails go 3.3.3, 3.3.3, 3,3,3. Now they're all completely randomized and let's take this down the whole size of everything until we get like a good salt feel. Honestly salt I feel like is that small when we're talking about this kind of stuff. Let's take the random, let's take this down to like 100, 100, 100. These are all blasted apart everywhere and if we want more, which I'm sure we do,let's take this down to like 6,000. Then I think for the texture, all we need, let's go to material, Octane, universal, try that on to the scatter and then within the note editor, we don't need any metallic at all I'll be there we can take down a little bit, transmission can go up and roughness can be a little bit faded and it should be good, this should be glass if I'm not mistaken and as decent. If we zoom in here will be able to see the salt and what it's doing if we take this render region and drag this out here, will be able to see specifically what going on let's take the random and go maybe 0.5. Now we're really randomizing that stuff up we might not need as many as scale 5000 and then just decreasing the size a little bit more. Now we're get this nice salt texture but it's hard to see sometimes a texture than when they are much bigger so I can just minimize them after the fact but we're looking to you. Of course from this point on, you can choose to add summed up the field in which you need the rest of my work is actually going to be in Photo-shop so this will be good. This will be a good test so now I think we're ready to render everything is ready. If you want to add some glow, you just go to the camera tag here, post-processing enable and just start glowing this stuff up with some light here. Let's take the glare down to, two blur that a little bit and add some spectral intensity and I think we have a nice little rendering, so that'll be good and the rest is up to you guys do what you got to do. Let's take the scatter down actually to like 3000 and then we have a little bit too much salt going around, maybe even 2000 where we originally had it. That should be good you don't want the salt to be too distracting, but you want it to be there for sure and I think we're good there. We got light hitting it from the HGRI top late key light coming down and everything's looking good. Let's go back to the octane settings get ready here let's take this down to something like 1200 and one and we should be able to render it out. 10. Coloring in Photoshop: I stopped the render here at 536 samples. Actually, I haven't stopped it yet. Let's wait until it gets to maybe 600, because I think this looks fine enough to start coloring, and then, we're going to stop this render here. Then, now, let's just save this as a 16-bit TIF to give us a little bit more latitude to color. Let's go to the Skillshare section and just save this where it needs to be real quick. From here, everyone knows the usual thing I do is, within the layers tab, which is "Command J", duplicate it, filter, convert for smart filters, and go to camera. From here, let's just add some color. Let's go to vibrant, get a little bit more yellow in there. I want this to be a little bit more burnt-looking, so maybe we can take the hue, change that down, luminance, darken them up a little bit. Let's see. I've got some yellow in there, so maybe take the yellow. Actually, that should be good. We add it. There's some difference between the yellows and oranges. If we just change the oranges down, it'll look like we have a little bit more definition there and variation in color. Let's contrast this up a little bit. That should be good. Clarity, if you want to have these things punching out almost looks like a food ad. Looks good, but this is pretty good. I think we're looking good here, and I think that's set. We can see the before and after. Obviously, one has so much more life than the other. I think that's good. If you click "Okay", I think we have our finished product, fries splashed with some Ketchup. This is, I think, a great alternative to food photography, and I think it looks good. Take it easy, guys. We'll see you in the next one. Let me know which class you want to see next. I think that's it. Thank you. 11. Outro: There you have it. Thank you for watching the class on how to make the french fries and ketchup still life, and I hope you enjoyed it. Again, please always send your recommendations for future classes. I was love reading them and apologies if the energy levels for this one was a little bit up and down. I know we're all dealing with being at home 24-7. The shift in energy might have been affected by that but I hope you got some useful information out of it and I'll try to be making more, especially from being quarantined at home recently. If you liked it, please rate it, share with your friends and let me know on Instagram or something like that for future class recommendations, and I'll definitely keep that in mind. Until the next one