Transcripts
1. Introduction Shading in Redshift: Hi, If you want to
learn shading in Houdini using Redshift without having to model how
to make richer colors while keeping itself will
have to layer multiple looks. How to target specific
areas with specific looks. And you want to learn
it in a project that you can actually finish. Then this course has
got you covered. You will learn all
of this and more. So grab the free 3D model
and let's start shading.
2. 1 ASSET PREP AND SET UP: Let's bring in the file. Alright, space g
on this is huge, not first off, we need to
make sure the scale is right. We need to find accurate
dimensions for ashtrays. You can find the
Internet that you have. 20 cm, 15 cm, 15 point for about
16:17, probably 18. So as long as I am between 20 cm as a maximum here and
15, I'm good to go. So let's fix this scale here. Make some space. I don't need as much. Alright. This is my ashtray, will have
a box as a guide geometry. And this box, I will make it
18 cm because it's 15-20. So what I can also do is
just for my convenience, I'll just have the commentary. It's 18 cm. Interval is 15 to 20. From research what we found. And this is our guide scale. That's clear enough. Is it not? Okay, good. Match size. So we're not
going to resize this man, Willy, I just need to
say match this size. By default, it just moves
because by default, scale to fit is not
checked if you check it. And then space g, This is my box. This is 18 cm. And this is my ashtray that has now exactly the same
uniform scale as this. Okay? This now is, it's
about the scale. However, let's
look at the front. This is not on the ground level, so let's move it and position
it's already underground. Line x is a line. This is going to move this up. You notice that
actually it's not properly positioned
document have a trustful then rotates just rotating
like this and rotate it. Once it's straight
line like this, I just move it up and
then have it match. But as the size actually
it's aligned to the ground. Now we're good to
go. Let me go back to my perspective camera. And we will start working
on this now first off, let's have a new camera, it and position
it in the z-axis. This is z, this is x. Alright, I want to like
this, something like this. Good. Now, just an aesthetic
thing, this feature here, because I want the light to
be coming from here to show all the reflection
roughness things here. I want to move this here because if the
lights comes here, this part will be dark, hidden in the shadow. I want this feature
to be visible, so I'll move it somewhere here. That's just an aesthetic choice. Let's rotate it. There you go. This is going to
be in the light. Good. Now this part is done. Let's talk about the aesthetic
choices for the roughness. Let me get it a bit closer. So Control V, this top
part of the ashtray. I want it to have a
different roughness map, different surface
imperfections than the inside, and also different
from the edges. Because an ashtray,
if you notice, you will find that it has
mostly fingerprints here. The top and inside
is a different, completely different
surface imperfection. And the edges, I want
them all to have some gravity driven
service imperfection, more like leakage, which means
this has to be isolated. This has to be isolated. And well, if we've
isolated these two, then the rest is the rest, which is the edges. So I need to do is
start grouping things. Group. I need to target
everything that is facing up. Let's start with this top here. What you will notice that
if I now select my normals. And I go select everything
that is facing up. Put here zero, spread
angle is too much. I move like this. I will be able to select all the primitives
that are facing up. Put this one back and
unlock the camera first. So I can move this around. See, this is fine. We have managed to target
the top and the inside, but I want them to be separate. So to do that, I'm going to have to
use a bounding box, then isolates the top. A bounding box that
covers only the half, and then use that to
group justice bit. However, I already
know before going into the bounding box that
the bounding box works only on points. If you want it to be
grouped by bounding object, it only works on points. So let's change these
two points. Okay? Once I group them, then I can turn
them to wherever I want to turn them back,
can keep them as points. But let's have a bound. Let's name this one first. Actually let's give it a
meaningful name them Groupon. This is facing. Ok. Let it take from the name
of the node, the memorize. The group now is facing
up 8,000 points, all these points, right? Let's have a bounding box here. And that is covering
the whole thing. What I want is just
the upper parts. So let me have it
cupboard like this. Let me have this one templated. Because this way I've managed
to exclude the inside. But some parts here
or not really. So what I'll do is
just move this up. Now, this is going to serve as a bounding object for grouping. Let's have another group now. Connect, connect this. This group needs to be, this one is points. We still talking about points. Let's turn this one into points. And use not the base group, but by keeping bonding regions and bounding box,
bounding all break. This is why it says
points or vertices only. If we started with
the primitives I've worked will
give us an error. Okay, So this is now covering all the points that are
within the bounding box. Good, so what can
we do with this? Well, I know that this this
is just the top and inside. This is the top half. So what can I do? What I can intersect and
subtract to get top and inside. Let's name this one first. We'll call it top half. And make sure I get the group
name after the loading. Now, let's group combine, which is used to make all sorts of calculations between groups. I want something called top. This is the real top. Just this part to be
equal to facing up, intersect with the power. And there you go. That's your top.
Now let's do the same for or similar
for the inside. And we bring in another
group combined. And we call this one inside. And we change this to Subtract. We get the insight that simple. Now, these are the only
two groups I need. Obviously, if I remove top, if I target top
on target inside, everything else is the edges. Do I need to create
a group for edges? If it's the rest, It's the rest. So I can target
top and inside and everything else gets another
material or roughness map. So let's now clean our geometry because what we have is
facing up has done its work. Top half has done its work. These need to stay, these needs to be removed. Always. Get in the habit
of cleaning Geometry. Group Delete. I do
not want to have. Instead of selecting maybe you have worked on
multiple groups. You just say delete everything
except the ones I want, except top and except inside. And I'm now left with inside, and that's all good. Now, the next stage is
going to be that group. And inside. Most to give the points an attribute that we can
later use in the shading. Let's create an attribute,
attribute create. Let's go to, I'll just
press on this one. I have two attributes. One is going to be
called top, one is going to be called inside. Now, this is now given
with value zero. This is very important. Value zero, keep it as is. It's a float point, value zero, point
float value zero. That's all you need
to care about. Because if I come to my
geometry spreadsheet, you will notice that now all the points of this attribute inside on
top, is that what I want? Well, yes, because now
they have value zero, which means if I change
this value to one, I'd be able to target those. I have one on those that have zero, I'll just
leave them alone. So let's go back here. And now that everything has stopped and everything
has inside with zero, Let's give the value one to top. For top. And let's give a
value one to insight. For insight. Let's do that with
attribute triangle. And that's going to be very
short and sweet of Xcode. We're going to write it and
write it in plain English. Very clear. These two for commenting, which means that
this is not curved, it's just plain English
comments from me. If I'm talking to the
points now, if you, if you have if you are in group, then get one for attribute. Is that clear? Yeah, this is implant English and same story
is going to happen. For the inside. If you are in group inside, then get one value,
one for inside. Okay, let's clarify, is
even further value one. Value. Clear? Okay, this, this is
all we're gonna do. Nothing complicated. So let's write it in code. This. Then that done. If this then that don't just
need to fill in the blanks. Okay? If that group
is called top. If this story is true, this is meaning
this double equal. And one means is,
if this is true, then death float equals one. Now, same story. I'm just going to
copy paste this. Need to talk and change
this one. Inside. There you go. Done, finished. That's not complicated.
Alright, Now what do I have? I have point attribute
inside on top. Now how do I know it worked? I go back to my
geometry spreadsheet. And when I click on this, I see that it sorts, it sorts up and down. So some have zeros
and some have 10101. Okay, clear. Now, now that I have this, I would like to actually make sure that once I start
using my roughness maps, that these groups are
actually not creating a hard scenes that are going to be visible
because this group, if you look at the group
here, this stops here. And this could be a very harsh
and nasty caught between the roughness map that's
gonna be applied here and the one that's gonna be applied
here, we don't want that. So we need to blur these attributes that
we have just created. But let's visualize them first. So when I now click on
top, it's visualized. And let's bear this. So let's have an attribute. I want to blur, not the
position attribute. Blurring iterations. You see, that's now
getting blurred. This initial is
zero is what I had. And that will give us very
harsh and nasty seems. So perhaps 20 is
right about enough. This is enough for me. So this is for top. What if I want to
add another one? Do I need to know the node
or we don't need to do that. Just a space and inside. But you get to see
one at a time. So if I now click on the inside, I can see that it has
also taken care of inside and it has given it
blurring iterations of 20. This is about enough. Should you want to have more? Could come back here and
increase this value. Alright, this is now good to go. I can have ashtray. Before shading. I can either export it because I always prefer if
unhappy with the 20, I can export it. If I still experimenting, I can point to this
one and see how it looks and then export it. Now I'll just export
it as is to output. And I'll call this. Let me check quickly. I've got only the
information I need. Do I need to have these groups? I don't mind keeping the groups. This is tray for shading that saved to disk. Let's go back to the arbitrary
contexts up one level. We rename this to prep. I don't want to have
this visualizer anymore, so I'll just go back. I then click on
inside. That's gone. Alright, this I'm
going to leave alone. And I will bring in
another file node to import my ashtray for
shading brush here. Good. Now, this is given to be four. Render or render material. Material assignments
and not that builder. Ashtray. And leave it alone for now. Just assign. Okay. Just because I've left here the display flag and I've added my material
won't show up. If you want to be
sure of an output. This is going to make sure that when you go back up one level, it's always picks
up from the output, not from the display flag. It's overrides the display flag while the material knew NO. Okay. So that's for the ashtray. This one is disabled. I need the ground, so
I'll bring in a grid. Um, that is too big for the
camera framing that I have. I just need 1 m by 1 m. You might be tempted
to bring this down to two. And turns out one
polygon would do. That's not going to help because I want to
have a texture. That texture has
a lot of detail. And look at this. We are very close to the ground. We'd be able to see the
details I need here. And the richest OBJ I need to work with desolation
and displacements. They need to be activated. And they will work if you
have enough subdivision. So number one, let's
enable these already. Cool this ground. I go back to my
grid and I give it, I'm just copying
this one class copy, paste relative reference
that we have the same. I'll give it quiet high
number of rows and columns, okay, 100 but 100. Alright, so this
is for the ground. Obviously we need
to have some UVs and initialize best plane. Then also a material
assignment node magnet here. Builder. And this shall be
called the ground. We'll leave it alone for now. We'll come back to the
shading part later. And again, I prefer to
have an output, right? This is now my Ashtray fall under the ground. Both have UVs and material. Assigned. The ground?
I did not assign. Yes. So let me assign. So it's always good
to check your stuff before you move on
ashtray ground. Now I need to have some lights
because that's what will bring all the beauty
of the roughness maps. So let me go a little bit. Okay, here's the camera. The most important light is the one on the other
side of the camera. So I move like this. I create a light from here, redshift and control light. When you do that,
it creates a light from the position of the
viewport and it locks it. Should you want to
move this further? Okay. This is about, okay. Alright, so this is
like a number one. Let me unlock this and move. I want to have another light. Here. We will tweak the settings and the textures and
stuff will come back. But first we do the
blocking layout. I need another light to be. Here. Let's control. Click on the slides. And I like to have
another lights and unlock another lights
on. This side. By the way, the lights are huge, will reduce their size. One from this side. And control. Click, good. I'm good with this. Now. This is now my lighting setup for the lights that
are direct flights. I want to have a dome. So I click on them. And this is going to be My, let's call it studio
because I'm bringing in an interior studio, HDRI. Good. Let's work on each
one of these slides. Just we can them. First. We
want to work on this to-do. I have under light that I'm not going to use and you should
never use this color. Always bring in a texture, an HDRI up using, let me show you, I'll
be using this one. You just got to HDRI. I haven't or poly half-finished
arise this indoor. Understood. Yo you've got plenty of
them are using this one. You can choose
whichever one you want. However, however, now
that we work in on the starting like preparing the layout and
lighting for shading. Shading is looked at. This is going to have a
yellow tint on your material. So you prefer not to use those that are rich in
colors because this, the purpose of an HDRI is
to provide you with light, realistic light from real-world. If you use something, let me just go back up. There's one up here. This one is this is not what you want. It's a lot of colors that are not even complimentary colors. It's all over the place, so this is brilliant. Underneath. You may choose to clean these lights and just, just keep the reflections. I'm going again with
the simple one. It is over here, right? So that's for the
texture, for the lights. And since we're still
here, since we sit here, I'll show you that we'll
be using for these lights. Again. Never used the color because it doesn't make
any sense whatsoever. This color does not make
any sense whatsoever. It doesn't exist. So using it as well, it
doesn't make any sense. You always want to
use light textures, real light textures
from HDR labs, you can get softbox, you can get different
types of lights. You can experiment. We're gonna be using this ring. You can go ahead and use the umbrella if you
want to use this one. Experiments with them, have different ones on
each one of them. Fine. I'll be using this one. Okay, good. So this is supposed to
suit your first studio. I click on the texture here. I want this one, except I
need to decide color space. Now, mine is a nascent CG, the one you didn't download, as is from HDRI, Haven is going to be just an
XR, hasn't been converted. Don't worry about that. Richard is going to
take care of that as long as you tell Richards. I'm going to say ACCT because
mine is already SHE but as long as you tell that my EX OR, or my HDR is a utility
or as a utility. Utility. Linear sRGB,
you're good to go, okay, for you, you go
with utility linear sRGB. For me, I will go with ACG because I already
have it's competitive. You will find that
when you start using some lights over
and over and over again, it's just better to
have them ready as SS7. Good. This is now for these studio. For these, I will
use the same one. So use texture that is going
to create this tab up here. And I can just
bring in the other, the same thing for all of them. Use texture. I'll go back through each to
set the color space. I know this is just okay. Now this is not, I haven't
converted this one to ACG. So this is going to be
utility linear sRGB. Same story here. Utility linear sRGB. Why? Because the snakes are HER. If you are using a PNG or tiff and I would recommend
not doing that because he needs to be H2RA XOR. But if you're using
that, it needs to be a different thing. It needs to be utility,
starchy bit extra. But for now XR we use linear sRGB that we have this sorted. One thing that I'd
like to do for all of them at the same time
is that they come at a very high intensity
over you get down to one. And I almost never want
to work with intensity. Intensity is a multiplier. That doesn't mean anything. What so ever other
than multiplication. But for lighting, we know
something in real life. It's called the exposure. You find it in cameras. So DOP is cinematographers, photographers know
what the exposure is. So that's the thing
we want to be using. If I want to increase
it, I can go to one. Okay? All of them or keep it at zero and then we can tweak it later. But I want to make sure that I always use exposures
that have intensity. The studio. Let me check the studio
lighting density is here. This is good. Probably a little
bit more on the exposure. That's it. We're done. Let me save
let me save my work. So this is now for the lighting. I will go back to the camera. Then we will start
working on the shading.
3. 2 SHADING ASHTRAY: First, let's talk
about the color. Let me bring in the
Redshift RenderView. I'll move it closer here
and on disable the ground. And let's talk and
also the lights. I don't want to sit here. Let's talk about the
color of the ashtray. Now this is going to be black, but I think is we
want to introduce some subtle adjustments to the color to get
closer to realism. So I want this to be black, but then shades of black. And this corner here, like all of this curvature, I wanted to have a slightly brighter color because when the
white gets dirty, it gets darker, or when the dark gets dirty,
it gets brighter. So this is going to be a slightly brighter
color than the black, where we need to know how
to isolate this first, and we want to
apply some colors. We're going to work
with fake colors. So colors it also abuse just
to see what we are doing. Once we're done, we change them to the real
colors we want to be using. Let's do that. Let's go to the Austrian rather. The material. Here. I would like to expand this one will be connecting
it to this base color. Now, I will not work with this because there's some work
that needs to be done. And then we feed it to here. Let me get a color constant. Okay? I'll make this one red, very obvious and blatant bright color. And
another constant. I'll just copy this one.
Drag-and-drop. And let's have this one as green. Let's have a render. Okay. I see the background. We don't want that. I don't want the lights
in the background. So I'm just come to
the studio here. Under environments, turn
off this background. Okay, so this is my color. I would like checking this one. This is green, this is red. Nice. Okay. Now here's what
we're going to do. We want to use curvature. Curvature. And this is going to define where the red goes
and where the green goes. I want concave. Concave is this. Alright? And I can then change and
adjust the radius as I want. But I want to layer these two colors using the
curvature as a layer mask. Layer, RS color layer. I will feed in the first
as the base color. And the second layer color and
the curvature as the mask. Now, this curvature radius could be too much
because this is 0.5. That's a lot. I will need to change it later. Let's have a quick look. We connect this here,
the base color. And let's check. Alright, so this is
not doing its job. Let's change the curvature
to something smaller. You start seeing something here. You can adjust the
values and you will see that it gets wider. You cover more. Now we
don't want it to be that big, just subtle. Always in shading and look they have subtle will go a long way. So something like
this would work best. I want these edges
to a brighter. So this is now for
the targeting. And now I can do, I can change these with the
real Kerberos I want to use. Now, even these colors, I want them to be
varied a little bit. So this is not going to be a constant or a
disconnect today. This is not going
to be a constant. I want it to be a noise
with two similar colors. So I'm going to use RMS noise. I'm replacing each one of
them with different values. So this is going to be black and not white.
And you know what? Let's just connect this one so that we see what
we're doing, okay? So we understand
the concept here. What we want to do is just
connect this one alone. Let's deal with each
one separately. What I want to do
is adjust here. Complexity and amplitude. Something like this. Alright, so what do we have? One color is taking up
most of it and then the second color is,
has this presence. Okay? So I'm going to do is keep
this very, very subtle. Let me just increase
probably this one a little. Okay, this very
subtle variation. But then make both of
these colors black. Just they happen to be
different shades of black. And obviously we never
work with zeros. And the black never
work with zero. I just copy parameter based, lots of reference based
relative reference. Copy of her friends based
relative reference. Now this is going to
be a different value. We can hardly tell
the difference. You can adjust these. But what I'm doing is that this, this one is half, this one doesn't have
to be, It's not rule. There is some favorite
slides variation. You can hardly tell
that variation here. 123 spots, difficult to spot, but your eye sees them. So these very tiny, subtle variations break up
the uniformity of the color. Let us, for the first one, how about we do it for
the second as well? And that's going to be for
targeting vote for this one, this is going to be a gray. So this is for the main color. And let me copy, paste it. Just try and connect it here
just to see what I'm doing. And this is going to
be a different i'll, I'll just keep the same, same stuff here. For the noise. I'll use a different value. This is given to be
0.05 because remember, it's meant to be black. And this is 0.1, so this is a lot
closer to the gray. Now d is, this does
show some variation, but this is meant to
be just the curvature just here in the corner. It's the dirt that
collects over time. This is now my base color. I'm replacing this red
with this and this gray, this green with this one. You go. Now we say thank
you to these place holders. They just serve the
purpose of demonstration. And now we have our layer. Everything can see an
obvious difference, but we were never meant to see it as an obvious difference. This is supposed to be
a subtle difference. Now, if this turns into, let's just check if you
want to check your work. So connect this one here as
red. Okay, Can you see it? Good? It is there. This gray? Is there. Evil to
make it brighter, fine, but you risk
making it too obvious. So let's bring this one back. Now. Once it finishes rendering,
this is just three per cent. You will notice that this is actually slightly
brighter than the rest. And even this is
broken up with noise. Some of it is little bit
darker than the rest. This is how we want to
deal now with the color. You don't always just apply, okay, I want it to be black. This is a richer
version of dark. What I could do is later, this is for later. I can add a color, correct? Just as a placeholder. Now, this is for if I need and I want to change
anything, not now. If later on, I want to make
the whole combination darker, more contrasty, brighter,
less contrasty. We can do that. I'm just keeping it here
as a placeholder. Now this was just about the
color has finished running. We need to move now to
the standard material and look at what else have we got because this
color is not enough, we need to introduce
some subtle. Again, subtle layer of
realism and we can do that with the subsurface scattering. Now, this one, what
I will do is use exactly the same color for
the subsurface scattering. This is color subsurface
scattering, color, MS color. There we go, is this one. Now, I am going to use exactly
the same color I have. Start from here, actually. I'm a scholar. Alright,
I will use it for this and start
adding some weight, will make this 0.01. And scale perhaps zero point. We start with something big. Just let you see the difference. 0.1 e.g. you see, this is too much. So let's go subtle. This should give us a tiny layer of
subsurface scattering. This is the scale. So how deep does it go on? This is how strong
is the effect. Good. Now, this is
about the color. What I want to do now is start
working on the roughness. And for the roughness,
we're going to have a map, a roughness map, as we said on the top, which is fingerprints. We are going to have stains here and we're going to have
leakage here in the edges. So how do we do that? How do we target this? Let me stop this one. You know, what
we're going to do? This is what we call
the real color. But we're gonna be
using, Let's group this and call it color. Onto now is just
disconnect them. Finished working on this. And I can tweak it,
of course more, but on disconnect them and say, thank you, We'll bring you
back once we are done. Because now I need to
explain some things. And the best way to explain
roughness is using color. Again. If you want to apply
to the top, to the slides. And probably the sides
also has x and z. The best way to go about it
is to use a try planner. So let's bring in a try planner. This try planner is
going to be used for the reflection roughness, but only to see
what we're doing. And to explain the concept. I'm going to plug
it into the color. Now, this dry planner
has x, y, and z. So you can also plug x, y, and z different textures. I say not the same image
because I want to explain this. I will not use the
internal color stuff here. I will use colors,
but from outside, because I want you to
look at them as if they were as if they were textures. So as if these are
textures because that's what we're going
to bring in textures. But this is not just a
place holder now, okay, I don't mind actually
go in with red, green, and blue. So let's do it. Red. This is green and let's
have a blue right on. Yeah, let's have a
bright green right. Now that we have this. Let me plug this one in the x, this one in the y, and
this one and the z. Now, it was exactly
the same thing, but we need to do
some work here. Let's check what we have. Just now. This is doing exactly
what it was mentored. So am I just going to
apply this as is no, because we want to have
this different from this. So this is green
and this is green. No, I want this color. And this a different color. As is the trip planner
does not work for us. We have to tweak this. Let's do it. First off, I know that decides
whether they are x or z. This is x, this is z,
is the same thing. I'm not going to have two different ones
with the seam here. This has to be one texture and this has
to be split into two. So x and z are on the same. Given the red to x and z. Now have uniform grid. Nice, okay? Now this y, which is the top and the inside it's hitting belt
is coming from the top. Projecting from the top, it hits the top and the inside. I want the top to have this color and the inside
to have this color. Let's rename this to stop. And this one too, inside this we can say, okay, Sounds good. Now
this one is sorted. We don't talk about
this one anymore. We need to deal with this. Remember, back at the rest of
this on the geometry level. This is our ashtray. Now look at this. We have created those points attributes. Now it's time to bring
them in, inside and top. Insight on top. So let's bring in the
sport attributes. How do we bring them in? Or S point attribute
is going to get dark, so I'll just call it by default, it goes as color CD. I want top. And just call this
one also here, dope attribute, and give
it a distinct color. And let's copy paste
it and call it inside. Inside attribute. Let's move this one out. Okay, good. So what do I need to do? This is an attribute
which means that now if I multiply inside it inside, then it will restrict this color to those points
that have the inside. Let's do it. This is what I
should be using for the texture because
it is one channel. And this is for one channel. What I'll be doing is
multiplying a vector because this is demonstrating using a color and
color is a vector. Once we go back to the texture is just
gonna be grayscale. So I'll use this normal
one which is not a vector. So I'll use this temporarily now because it's a,
it's the same thing. One is for scalar and
one is for vector. So I remember this and
use this one instead. Right? Now, we're not blocked
this to the y. My press like this. The blue is now only
affecting the inside. Now this has become black because it doesn't
have any information. It says, okay, he wanted me to restrict the blue here. Fine. But you didn't give me you
haven't given me the green. So we'll do the same thing. Multiply. Normally you're
going to use this. But now because we do
want demonstrating again with colors,
colors of vectors. So we use this one, connects
the color and the color, and we get the green on the top. Now, we want to
bring them together. Now how do we do that? We bring in an ad, and again, normally we use ad, ad for the grayscale,
for the one-channel. Now we're going to use our
S vector, add four colors. I connect both,
get both of them. And this is how we isolate specific groups by
providing attributes to each group and then bringing
back these attributes in the shader and
multiplying and adding. Good. Now, this
is the hard edge. Remember when we had
blurred the attribute. Now this needs to be picked
up by the try planner. So let's try planner has
the ability to increase, you can increase the
blend amounts to, let's say something like to see, it used to be, if I go to
default, revert to defaults. Very harsh. But if you want to have softer blend in
between these two, not just simply increase this. And you make these here. You have more of a gradient. Alright? Good. If you want to tighten
up the blend curve, like make it tighter,
you could do this. You will notice
that inside here, This is not a uniform blue. There's some red
spill from the sides. And this happens because this inside is not flat,
the model is not flat. It has some elevations and these elevations get picked
up by the try planner when IT projects from the X and Z and we do not
want to have that. I want to exclude any spill
from the red on the blue. How do I do that? Very simple. We multiply by one
minus the inside. So let's have one which
isn't absolute color. This starts as a zero,
just change it into one. And we subtract. Subtract one minus what? Minus d inside. Let me move this one's a
little bit to the side. This inside over here. I need to remove it. So one minus this. And then I multiply this vector, multiply, multiply
this with the sides. So let me cut this
connected here. Now, if I connect this
to both the x and the z, and I will launch,
the render has completely clean this because I am telling the triplanar look, you have to take away the
inside from your projection. And because we're
talking about numbers, actually, these are
attributes that have won. When I see one minus the inside. Then if one minus one is what? Exactly zero when
it becomes zero, then it doesn't get
any projection. So this is what we
want to have now, perfectly clean inside and
we're going to use textures. Now is the time. Now is the time. You know what? Just
to have clarity, let me organize this
and give it a color and call this fixed
glued inside from picks. Z projection. Projection. But you know, it's good. This is now just our color. We're using this to
explain the concept. Now that the concept is clear, we can bring in the textures. We make the necessary changes. All we need to do is change
these colors with textures. And obviously because
colors were vectors, we change the vector version. We could keep it,
but it's probably, it's neater to just have
the scalar version of it. So let's bring in the
Texas which terrorists do we want to have for which? For the inside? I'm just going to
have a null here, which is just two. Tell you what that is. Stains for the inside. I need to replace
this with stains. The top I want to
replace, replace it. But normally it's just nothing. Again, this is not the texture, just to explain
fingerprints on the sides. To get this one I
have here, right? We re multiply it. This one for this sides. I want it to be leakage. Leakage because it's gravity, so stuff is going
to be dumbing down. Alright, so where do I find stains, fingerprints,
and leakage? Very simple. You just go to internet and
get surface imperfections. You can search for that. And it gets plenty of choice. Or you can simply go to my
gas cans and you will find fingerprints,
stains, and leakage. Which textures am I using? I will be using these textures. This one for fingerprints, this one for leakage, and this one for stains. On these look like this. Fingerprints. Full leakage. And for stains clear,
Let's bring them. Let me stop there and save
and bring in texture maps. This is going to be
just a roughness map. Let me copy paste the pulp
to first of all, sustains. Let's get these things.
This is an E XR, which normally would have been utility. But it's
not the case now. Utility linear sRGB,
but because this is a roughness map that needs
to go not in the color. Remember, this stuff for
plugging it into color, just for you to see
what we're doing. Actually, it's even better to
start with this every time, see what you're doing, then
plug it into the roughness. But because it's the roughness, we're not going to use this. We're going to use row. So it can be a utility
role or simply roll. Let me just make
it simply wrong. It's the same thing. Alright. This is now ready. So what I will do is connect this instead of
inside, like this one. Alright, we are going to
keep it as a color for now. Let's check. There you go. We have
successfully replaced as is, we still need to work on it. This is just the map
as we have caught it. We need to tweak it, but we have successfully
replaced the inside. So let me call this stains. You want to have
meaningful names because the network map is
going to get quite busy and we want it to be clear. Stains for inside. Stains map. Let's do it. Stains
map for inside. That's very clear. Good. This one. Thank you. Goodbye. Or I can just push
it to the side for now. Let's do the same thing for drag-and-drop
slope there enough. Now, this is
fingerprints. Simple. Fingerprints. Map for dope. And I change the pulp to
grab my fingerprints. Right? This is it.
And I change it to row because again it
has a roughness map. Let me change this. Instead of top. I plug this
in and I'm just around there. There you go. You have your
roughness map applied here. Let's make this one here. And let's use the leakage now. Stop the render again. This should be four sides. I copy the path and change this to row
connected instead of the sides. This multiplication
launched the render. And I have now the
leakage map, right? This is what they look like. What I suggest you do
is keep them for now, plug to the color until
you get what you need. So this does not
necessarily work, neither in terms of scale
nor in terms of values. Let me stop this and paste now. This leakage. These nodes, we don't need them anymore. This is just for us to
understand what we're doing. These colors were there. We don't need them anymore. Just use the move them
away until even later. Okay? So what do I need? I want to change the values
of this and the scale. The scale. That's quite an easy thing. Let me look at it. Stains first, stains scale. Let's simple thing. I can say Copy, Paste relative reference
to keep it uniform. And start changing the scale. Two is going to make it smaller. 0.5 is going to make it big. I can move these
electrons will diverge. Just use some numbers that
have worked for me, 0.7. Perhaps. You can move this around like this. Perhaps even more. This is
just an artistic choice. Now, choose a place on the map, on the roughness map
that works for you. This is problem ticket.
This is for the stains. Now, this is just a scale. Let me change the scale of
the fingerprints parameter. Baselines of my friends. Just quickly save on for this. We'll use 0.5 just to
check what we have. But it's bigger for is
unfortunately too small. You know what? If you can't see
what you're doing? A very quick way of bringing in, bringing down the values is. Just a gamma. This way
you see what's happening. Bring down the Gamma
just for visibility. What's happening here? Okay,
Now this is too small. On user value of about
1.4 is too much. Probably 2.52, 0.7. Something like this,
something like this. We can change it later. Alright. This is if we can know that color correct actually
for this one as well. Just for visibility purposes. We can see here the same
story here for our leakage. Alright, now you can
see you can just change the scale
the way you want. So how about a 44
would work better? I think some of it. Yeah, this is good. To see this. This is good. Alright. This is just an artistic choice. So what do we have? Stains and stains only here. And some fall off here. You can again tweak to fall off the trip planner here, right? So let's now to eat the values because this was just for
us to see what we're doing. If we want it to be. Like this is the, the brutal way of working with
roughness maps, but there is a more subtle, gentle way of doing it, which is using ramps. Let's move this to this side. And now what I'll
do is reset all of these to initialize the default. The default, default
revert to defaults. I keep it as a place holder. Should I need to make a very quick and dirty
change at the end? Let's bring in that
real color now. Then that is we'll color this
one, is gonna be the color. This try planner. Now it is very high time to be reflection, map,
reflection, roughness. When we apply it,
we get this now, obviously by default because I have reset all of
these, we're getting, again, the default values which definitely do not work for us. Let's bring in me save. I'll be saving quite often now. Ram or sram. For each one of them, we're going to get a ramp. We know what. Let me first work on
this and then I can copy and paste it instead of recreating the
whole ramp a game. So this is what I suggest. This is zero. This is one. Chances are you don't necessarily want to
start with zero. You could decide, you want
to start with something like 0.1 and move it
probably like this. Don't you may not want to
go to one, but instead, you could say, I
want to stop at 0.5. This is for the inside. And I could add more
values as I want. Making it grows
ear or more rough. If I want to bring down
the overall roughness, then I can go the brutal way
of increasing the Gamma. So this is for the ramp here. I'll copy paste this one
doesn't have to be the same. And tweak it. For this one. This one is going to require a much higher value in black. So 0.5, perhaps, maybe we
don't need all of this. Perhaps we need a brighter 0.75, something like this,
because these are the fingerprints and this is
the direct hit of the light. These are the most visible ones. We want to see them. Right now. I can do again the
same thing and then I have a quick and dirty
and brute-force the whole value with the gamma or even the contrast if I want. But this is supposed
to be or subtle, gentle way of dealing with the roughness maps.
I copy paste it. And use a similar what
tweak it for the sites. The sites I want them to be
a little less pronounced. There's gonna be my 05. I want to bring this
one here and probably create some other values in the middle. Something like this. We want the sides
to be very subtle. We want the top to
be quite pronounced. And inside to just convey the fact that they
were cigars in here, like the circular
shape of the Sega. Good. Now it's all a matter of
tweaking the whole thing. I won't probably to bring this one. Perhaps. Just reset this. Now it's
just a matter of tweaking, revert to the false now it's
just a matter of tweaking. Good. Let's say that this
is a starting point. I don't want, actually
this starting point, I want to make this
120 bit brighter. Symptoms like this.
Something like this. What we see here is
just the roughness. What I want to introduce
is the bump as well. Because this stuff has a very, very, very tiny elevation
from the surface. This dirt does exist. So why don't we do that? I'm going to use it as a bump or use this whole thing that's
coming out to try planner. And I have the habit of
adding color correct? Here. Just as a placeholder, I'm not intending to
change anything now. But I could if I
wanted to quickly increase the overall
roughness or reduce it, I just keep it as a placeholder. Now, I want to bring
in a bump map, connect everything that
came lots of here. Obviously, what you can do is each one of
them separately, each input coming separately. You could have different bump, elevation, different values. But this stuff is so infinitely tiny that it's not worth the trouble because it
is all similar height. Let's connect this. And
before we go any further, the height scale is humongous. I'll go with
something like this. Very tiny. Only then I will connect it to the bump map
here to the end. Obviously, you can also
connect it connected here if you have
multiple materials, but since we're only
working with one, I take it straight
to the final stage. Okay, I have here
this tiny innovation. Can you notice that? Well,
from far, it looks fine. So your bump value
is going to depend. If you're disclosed, then
chances are you're going to reduce it even further
than this, much lower. But if you are from this distance which is
already a close up, then it works fine. Then you have this bumping. You can, you can, if you really wanted,
you could invert. Now this is just a technique. You do not necessarily
want to do it now. It does actually not
make much sense now, but what you could do
is invert the bump so that it actually looks like
it is in instead of out. But we don't need it now, I'm just showing
you the techniques for probably another example. Good. I keep it as is for now. And this is what we get
as a starting point. Let me take a snapshot of this and I will tweak this further. So now you can actually
start refining the look. What I want to do
is because I want the color to be slightly different in terms
of treatment from the bump. I don't want this
color correction here. Any changes to the Gamma
or to the contrast, whatever I do to impact the bump because I'm
happy with this. Let me take this try
planners straight here and then make this just compact
the roughness itself. Alright, that's one
we want to, do. We have here? Yes, we
have a placeholder. Remember we have the
placeholder color corrects for the color here. Now let's make the overall look. You just click again and see if we want to work
on the overall look. So yeah, okay. This is
too much, obviously, some 0.9 or what
you can do is say, fine, you know what? I'm going to leave
this Gamma alone. Remember these ones these very
handy color, correct ones? Yeah. Now I can work on
each one separately, stains or make it
slightly less rough. Perhaps 0.957, maybe. Something similar. Now obviously the refining happens like the fine work.
It's quite like this. The fine work or the subtle
detailed work happens here. But the quick fixes you can do with this, this
has fingerprints. I think the prince
probably 0.99. But knowing six,
something like that, it's just a matter
of tweaking. Now. The sides, I need them to be a little more
zero-point, perhaps 85. Overall. Good. This is for this and
then I have the color. I may want it to be more black, but remember the core and
obviously also the roughness. A reacts, they all
react to light. And we have not yet
tweak the lighting. We have the lighting setup, but we hadn't tweaked
lighting yet. Let me stop the random now. Actually I can take a snapshot. Simply compare what we had
with what we have now. C. So this is the starting
point which is like the setup. We have oil all the nodes
that we need setup. And now we start
tweaking further. We can also tweak the subsurface
scattering if you want. But first let's get
the lighting tweaked. Alright. Let's go
back to the right in. And let me turn off
the visibility here. Remember when we have setup these lights, we
haven't changed them. Yes, we have brought in the
let me show you the maps, the textures, The Rings. But these things are
humongous in terms of scale. This is 1 m by 1 m. Now that light ring, believe me, is not 1 m by 1 m. So you
want to use accurate scale. I will go with something around. Let's say cookie per meter. Base relative reference. Them. Wait, that's not for this one. Delete channel. Let me go back to the lights. Size. Could be per meter. This relative
reference, reference. Copy. This one is if my friends. Alright. I could actually
have a control outside, a null as a control side
and half the number, the size of the lights here, and then change it
here and copy it here. And it would affect all of the mess that up
doing it one by one. Well, let's do it.
Zero points, 25 ish. Depending on which
light, you have. To be quite a small one, but we're going to
increase the price. Now. I guess the look is
going to change. But we still need to tweak this. And because we have not yet see, we need to get closer and
probably a bit brighter. So let's do that
or a slight one. And look through
on a slight one. And of course locate, look through at one, look a bit closer. Obviously, what I
could have done is instead of getting closer, just increase the exposure. But I prefer to
get first closer. And then let's just change
to rise to get a bit closer. Or S3 and get a bit closer. I think we can now
check quickly. Our alright, it's
getting better. Now, it's getting
better. Probably. We go back to the exposure and we go up a
little bit. Right? Perhaps this one also to monitor that as well.
Yeah, I'm good with that. Good. Maybe overall, you
want the city also to be brighter or not. Or perhaps darker. Yes, epithelia is look, I prefer this and then increase. Easy. Now it's just a
matter of tweaking. It is just a mater. This is too much. Slide 23. Alright, this, this looks okay. Perhaps this one is going
to be okay as well. Good. Okay. I'm I'm okay with this. We can obviously offset the texture for
the roughness map, move it around and move
these things around. There comes a moment when
you want to stop and say, Okay, we're done with tweaking. Let's go back again. Now that we've set
up the lights, the way we want it. I want to work on the
overall roughness. So this is for the stains, perhaps a tiny bit. Okay. And again, again, this is just a matter of refinement. You know what, you can do
that or you can go back and refine it properly here. Alright, let's save.
4. 3 SHADING GROUND: Now let's bring the grid. Let's add the display for this and move back
to the camera. Let's go to the ground. Under the ground material. What we'd like to do
is simply plug in a texture which is
four good blanks. Or you could go with something
like this or like this. Or you can go ahead
and just choose whichever one you want and
you can download that. What I will do is bring
in an IS texture. I will set up these one-by-one. So when you get the
maps, you get albedo, you get the roughness, you get the bomb because
the displacements, sometimes you get occlusion. The normal I will put them all in here because this
is repetitive work. I'll just paste the path, change the color space, and then I'll be back. Okay, because this is just
repetitive manual work. I don't want to waste
your time with that. And I'll show you what
each one of these maps is it and what kind of space it should have
right here they are. Albedo, musical illusion, roughness, normal displacements, and obviously our Betas and XOR, it goes as utility linear
sRGB, everything else. A0. Obviously, this is
quite important. A0 is not rho. This is because
it is going to be multiplied with albedo and
it's treated as color. It needs to be the same. Utility, linear sRGB, albedo. Utility linear sRGB, A0, you seriously linear sRGB. These are color because
you get to multiply these using various color composite. And you change from composite, composite method base
color to multiply. And you multiply this with this, they are both treated as color. The rest is treated
as Row, Row, Row. Okay? Good. This is now my color. Expand this a bit. Roughness goes to
reflection, roughness, normal needs intermediary
node displacement as well. So this is going to
need a bump map, which is little bit confusing. It is actually a
normal map node. It just happens, I just
connect this first. It just happens that
this normal, this node, let's call it a node, does both the bump under the normal. So if you choose
tangent space normal, then you're dealing with
the input as a normal. So this, this is not a bump map, it is a normal map. And I can then connect this to the ether here as the bump
input or to the final one. Bump map probably
Shift S Alt, unclick. This is going to be a
little better to see. Okay? Same story for displacements. We need a displacement
or displacement. And we connect this
here as a texture map. And we connect the displacement
under displacement. Alt, click and then move
it a little like this. Good. Now that we have
all the maps there, we're going to start with,
well, you know what, just leave it as is, we want to see how ugly it looks with high. I'd scale one and we
will tweak it further. But this is, this is
too much. I think. This is too much. Let's go to the
redshift render view. And by the way, by
the way, this ground. Remember when we
had under, sorry, under the distillation tab, this is very important. We have done two things. Because to see the detail, you need two things. You need to have some
level of cell division. We have gone to 100. This is a choice. This is a choice. You
could have kept it lower and put all of the subdivision work
at the render time. So this is render
time subdivision, and this is the
real subdivision. So when I look at my grid, I've got a lot of
stuff going on here. A lot of polygons, because
I've decided to bring in 100 by hundred and then
ask for more subdivision. Under under here. Redshift OBJ distillation
displacements by enabling, enable this solution. Enabled displacement. This displacement here. This one will work when
you enable this placement, but it needs to have enough distillation,
enough subdivisions. So you can either have all the subdivision before render time or all the
subdivision at render time, or simply have a little
bit of cell division before and ask for
more at render time. Clear. Okay, So this
is what we have done. Let's now go to the
redshift and the view. Another thing, by the
way, another thing, these maps that you are going
to download and recheck. Let's have a look.
What have we got here? You've got eight K, 16 K. This stuff allows you
to get very close. What have we got here? This is a close-up,
close-up, believe me, I to k1k, It definitely is going to be a joke to k. You
don't want to work with. For k, It's not
going to be enough. It's going to be as off eight K. Probably eight
is about enough. 16 could be pushing
it to be too hard, but you could try if
that works for you. I'm going with eight K. Alright? I'm not gonna be using this
map. Here's another one, but I'm going to
be using eight K. However, what you could do is the initial setup
for the scale. And as in how big is this parts
compared to your ashtray. So the scale of the texture, you could work with the
two k or even with one K. And then once you're happy with the scale and
the positioning, rotating this top, then you
bring into eight K Instead. What that's going
to require some, some, some, some
work at this level. But for now, I'm using
the eight K directly. Okay, So that's gonna
be a little bit slow, but I will use just eight
k. Let's now launch a safe. First. I will disable the play flag from the
ashtray just temporarily. And then I will launch a
render with displacement one. I want to show you
what the problem is. Now this is going to take some time because
I'm working with an eight k and then you go
progressive rendering 26, 36, It's almost there, almost there, but
it's all black. Why? Because the default value of one does not work
for displacement. So let me bring this one down. And now we see something. Okay, good. Now, I want to fix the
scale, everything. Just make sure that you always fix this scale
first before you proceed. Whether it's geometry, whether
it's the ground, a grid. So let's go back
and fix this scale. Number one, we need
to bring back, need to bring back the ashtray. We know that Australia is 18 cm. So if I create another
camera from camera one, say a new camera, number two. And I will zoom
all the way back. Something like this. And come back here. Do I see the camera?
No, No problem. I just re open Redshift
RenderView and that will pick up the camera and I will
launch around there. Okay? This is important. Now, when you see things in
relation to other objects, then you realize
there's something that has to be adjusted again in the displacements because this displacement map
is from mega scans. Because this map is
for omega scans. And you need to check
for your source as well. You need to adjust and the new mean and the
new Macs make us cancer has -0.5 to 0.50 being the ground level. So now if I click like this, then it will work. Okay, so what have we learned? You bring in textures from
outside, you plug them in. Oh, it doesn't work. You need to get used
to troubleshooting. Mostly starting with
your displacement. If displacement works, the rest is going
to be a lot easier. So number one, the default value should not be one. You
need to change it. Tweak. That's going to depend
on your surface. And number two is, is it coming from Megan scans? This is zero is
your ground level. So -0.5 to 0.5,
That's how it works. Now we talk about
the scale here, because if I look at this and I might want to
get a little bit closer, look closer, just look at
it from a different angle. On a different angle,
something like this. By the way, if if if
you look at this, I can see my lights here. There's a light. Which
one is this one? It's there's this light. I can see it here. If you have a problem and
you see a black square, black rectangle,
which is the light. Then what you need to do
is under the lights shape. If this is, if you say visible, then it's going to
stand in your way. It doesn't make any
sense whatsoever. Therefore, it is, I think
by default and visible. But if you have a light that's visible,
this is how you remove it. Alright? So now if I get a
little bit closer, because I want to
compare this to this bit closer from
a different angle. From this angle. Unless the ******* camera
too has not updated. It has it has. Good. What do I know about this? I need to get the dimensions of these things in real life. I know you may be
thinking, Well, show me check and mega scans or the source of the textures, what the measures are
of the full texture. Yeah, it may be 1 m by 1 m or 2 m by 2 m or two-and-a-half. Two-and-a-half. We do not care. I care about this. How big is this in real life? This is how big it
is in real life. You do your research. So this is 7 cm, this is seven-and-a-half
centimeters. Remove this seven-and-a-half
centimeters, 6.5 cm. This one is, let me just bring
it a little bit of 7 cm, 7 cm, 9 cm. You can find 12.14 as well. But I am going with the
smallest, which is 77. And in this case, again, this one has this 76.327.
That's the smallest. And I'm bringing here
different countries. This is, I guess from UK. This is from Italy, this is from the Netherlands. This is from Italy, this is from Poland. And seven, 7 cm. Six other mammals got smaller. These guys have got 5 cm. That's very tiny. Okay, anyway, I'm going
to add seven. Good. Is it clear? So there's no guesswork. Stuff that exists in
real-life has a dimension. We go look for it
and we find it. Good. Now, if I decided this
is 77 plus seven is 14, can we reasonably say
that the left over here plus this tiny
bit is about four, or maybe another seven. Then I say, okay, I
can tweak the size. Let me stop this for now. To make this size, I
can leave it as is, or slightly increase
it to have it somewhat accurate the size
of the texture. Now this is going to be
a little bit annoying, but I will do, is
you could do that. You could do is copy for our meter and then
paste relative reference. And just copy and paste
relative reference. And then copy based
relative reference. Copy. What I'm trying
to do is delete ones, copy parameter and paste, and then get it replicated
everywhere else. I will put in a note. Here. I want to bring in
a float, right? And that's going to be re-scale, let's call it
rescale. Re-scaled. Texture. On the default is
zero. I'm fine. I will bring in another one. Actually, four. I'll just say except to fly in except I've got something here that is going
to go right here. These are going to be controls, and we call it controls. And just turn it black. Then I know that this is
reskilling the texture. So by default, this, I wanted to have
a default of one, except I copy this copy
parameter and I paste it here. This is picked up automatically. I simply paste in
each one of them. I don't want to keep
changing one by one, going through all of them. Obviously, if we change
any one of them, everything else has to change
based on some reference. Good. Are spaced in
what I was talking. Makes sure that it's okay. Alright, good. So this is
for the, for the scale. Then we have the offset. If I want to rotate it. So here's what I'm going to do. I'm going to create
in this control the offset and rotate. And then I'll plug it
into each one of them. Let's do that quickly. Now, what is the offset all
about? What's the offset? Does a two vector. This is just the flux. Alright,
let's bring in A2 vector, float, vector to go on. This is offset. Offset. The defaults are okay for zero, apply except, alright,
I've got my offsets. We're good to go. The
next one is my rotation. Alright? That's
going to be a float. Apply, except copy
the whole parameter and paste it here. As a reference. What I could have
done as well here, I could have got a vector two in here and then
do the same thing. But I want to scale it
in one number here. So copy the offset. Base relative reference, base, relative reference, rights
and rotate as well. Copy parameter. You want
to have your default, this default, this one to be exactly the same as your
starting point here. Copy, copy parameter values. So this is if you don't have, if you have a texture maps
from That's not good. I'm talking, I'm based in and I could do something weird,
something wrong here. Rotate, rotate, rotate, rotate. Okay, it's good. Why
are we doing this? Because you could
have texture maps from different places. Yes, make us cans has a plug-in. What about the other poly haven't polygon textures as com. If you want to have textures
from different places, you want to have your own
system to bring them in. So what you could
do is simply have these controls outside
at this level. Here, at this level, even the texture, even the
resolution of that texture. But now we're going to
work only on these. So now if I want to rotate
scale first, scale, this needs to be bigger or smaller on amendments
and needs to make this a little bit bigger, so tiny bit bigger. 1.0, five-ish. Oh, that's ten. I meant one. Let's,
let's take a snapshot. We render again.
This is why all of this work I recommend
you do using one k to k. I'm now dragging
an eight K texture and it's quite heavy
once you reach the point where you start working
on the mammals has work, yeah, only start
working on the look. Then you bring into
a K texture because then the normal and displacements are going
to show up beautifully. Alright, so what have I got? I've got this perfect, perfectly aligned.
I gives me 77. This is 21, this is 18. I need this to be okay. I need this to be a bit wrong. Supposed to go look. Some reason there's always
a zero somewhere, right? This is what I need. I need this is 77
and exactly four. So a little bit more than half. So is this accurate? This is absolutely accurate. Asper, real live measurements. Good. Now that we have this, let's work on the look. The look is going to be rotate. And why the way your offset. Once you start rotating, the offset is going
to be different. So bolus this rotated as is, I will give it a 45-degree, perhaps -45,
Something like this. And perhaps oh, by the way, I'm still working on the camera to I
shouldn't be doing it. Should not be doing this. I should go back to camera one because now it's about the
look, It's not going to scale. And we launch it. Alright, perhaps I've done it in the different direction.
Okay, Let's go 35. Now it's just
matter of tweaking. But I need to go back
to my displacement, to my roughness,
to my normal map. I'm going to leave it as is
in terms of positioning. And we'll go and work on
the real stuff which is the roughness, the displacement, and the normal, or
the roughness first, what have we done
for the ashtray? We have worked on
the ramp and we have used the color correction. Now, I bring something else
which is a color ramp. It's not really something else, but it's a different way. I mean, uh, different, uh,
different interface here. Instead of working with colors, you have a ramp like this. So what you could do is now we turn off the visibility
but works with the scale. I don t need to bring in the ashtray calculation
of your time. Thank you. We remove
the ashtray for now, work on the on the ground alone. And let's go start
a ramp, right. Well, I want to do now is
stop this and move this. What you can do is
this work you want to do while you are working
on your two K version. Alright? So I will do
it a bit like this. Alright, this is now
what I have come up with. Let me go to the Render. Alright, so we have here
a reflection going on. And of course you always
want to refer to references. These are references gathered for the purposes of matching. Roughness. A bit old like this. This looks rather
more bit like this. I want there isn't
a lot of flights, so what I'll do is give
it a little bit more. Perhaps it's too much trying
to match some of this. And obviously there
are different, but something that
works while looking. Okay, this is okay for me. This is a good starting point where the way the
original texture doesn't have that much. Reflection is quite rough, but it's an artistic choice. I could have left it as is. I could have just
simply made it refer. Alright. So this is how you tweak your roughness with
a scalar ramp. What you could also do,
simply add, as usual, the color, color, correct? As a placeholder, for
quick and dirty change, you can bring it down
to wait to make it more reflective or
refer like overall. But this is just going to keep the default values because
I like to have the chance to quickly check and debug
and troubleshoot and know which one is causing an issue by changing this and also
by quickly tweaking. Alright. This is now, for this one, we're going
to bring back our ashtray. Now, what I would like to
do is lunch around there, but at the same time because now we're in
the phase where we want to make the ashtray look
like an actual ashtray. We're going to look at
the references as well. So you always get a references. It's gonna be a little
bit difficult to find exactly the ashtray that
you are working with. But you see this one
is completely rough. There's no reflection
whatsoever, like hardly any specular. But this one, this is to clean. You gather c, c, This one is what I
meant with the color. This is a slightly
brighter than this. Edges are dirtier. The dark colors when
they get dirty, they got a little bit brighter. So this is what I meant,
but in terms of look, this isn't what
we're looking for. This is a different
type of plastic. I don't want this. You just look at a
lot of references and see what kind of okay. These are the kind of
stains those talking about? Stains. Stains that we have. Are these stains stains I was talking about,
but these are here. And I prefer to
keep them here and have the fingerprints here. Alright, Good. Let's now move to
another. There you go. These, these are
looks that you want to have in mind while, while looking at your random. Now what I'll do is
probably slightly tweak. Okay, I think there's too
much reflection here. Originally, this map
is really rough. I don't want to
push it this far. Let's make it closer
to the original here. Perhaps even drop it
like with 1.1 overall. And even here, I'll
push it like this. Something like this would work. Old blacks, old stuff, loses reflection over time. This is again an
artistic choice. But looking at your
references, okay, Let's now tweak the ashtray. Now is just tweaking, tweaking
and tweaking until you match whatever references or combination of
references you have. You know what I'm going to do? I'm going to work on the color. Perhaps I'll make this
one a bit darker, knowing five overall, but I'll still maintain see on bringing all the
color combination. I'm bringing it down by 0.05, but I'm maintaining this stuff
here, this grayish edge. And from here, it's just
a matter of tweaking. You can tweak it as
much as you want. You can make it
even more flexible. If you want the ashtray, you can make the ashtray
now more reflexive, 0.9. There you go. I think I will draw the goal with
the look like this. So this is why these
kinds of setups, these kinds of setups need
this color correction at every stage that you can quickly handle either the
separate look of something or the overall
look of the whole model. This is from a different
angle, a different camera. And what I have done, it's all about two weeks
and weeks and weeks. What I've done is I have
here added more saturation, so gamma, a bit more contrast and saturated
colors, artistic choice. But what I also have
done is the following. This is the original stuff that we had for the roughness
map for the ground right? Now what I've done is I've
added was the same thing. It's just copy
this and paste it. I have another 1 s roughness
just to make it clear. And this is a different
roughness map that I'm adding on top. These are white marks, wipe marks and perfections. And this is what
I'm adding on top. So how do I add these on top of the roughness map that
game with the wood floor. So I need to color
composite using average and I'm making sure that it is clear change from default
base color to average. So you composite these two. That's how you bring in to
roughness maps together. Composite them with average. Then this is just
a place holder. You know, I always like to have these color correction quick
changes and you plug it in. Now, this is with the
second roughness map, and this just look
with this slider here, trying to bring in
the slider here. Okay? This is weird. So with the second roughness map without width and without, that really introduces
another level of realism. So it's all a matter
of iteration, adding more layers for realism. We have not tweaked the
normal of the grid. Let me go back here. The bump map node, which actually is
just the normal map. We have not tweaked
this height scale here for simple reason that
in this case it works fine. I can increase it
or decrease it, but this one works fine. But for the ground.
For the ground. Remember, let me go back here. Camera two. Now, this, or actually
just not the camera to look at this, this grid. It's one by one. But what am
I covering with camera one? Not everything. So what's
the point of having so much subdivision
at geometry level plus all skin Redshift render time to make even more
subdivision of off. It makes perfect sense for
what's inside the camera view. But I'm talking about the
stuff that's outside. That is not something
that we need. So we should consider
optimizing the scene. Now, one way of doing
it is secondary. I only want to keep the geometry
that's inside the frame. Everything else. You can delete it if you want. If it's never going
to be in frame, then you can just delete it. And one way of doing
it is by volume. So we're going to use a volume that is linked to the camera. And we should that
volume from the camera. And we are going to keep
just geometry that's inside. So here's how we do it. We say volume from camera. Which camera? Camera one, except we have this grid like
this onclick on this. Alright, so obviously
we need to have a name, density and value 111,
but you can increase. Here we go. Let me show you. I will turn this
a little bit dark so you can see what
it looks like. Okay, this is what we have
added, this volume here. I can bring it closer
to the camera. Let me add some more resolution. Okay. I do not need
to go this far. So I will do is reduce this. So you can use this as actually a bounding box to keep only the stuff
that's inside. It acts a little bit. It's a little bit similar
approach to the bounding box. So this is what I want to do. And I use this as a bounding box with
the attribute triangle. I'll say, Okay, I'll
connect this one here. Now connect this one here. So this is input zero. Input one is the first
input secondary purpose, this is input zero, input one. And I will write if
volume sample 11, is this the volume sample
from this input number one. And then zero. Then at p. If this is less than one, then remove point. This 0.0, which means
this from this geometry. And at PC. Okay? And I click on this,
and there you go. What is being templated here
is the original geometry. What I have kept here is just the stuff that is
inside the camera frame. However, however, this volume, now it comes with
some handy offset. Let's call it an offset
because that's what it is. Because once you go
back to camera one, you actually think other lemons, I'm missing stuff on the edges. We don't have problem with that. I simply add some offset here. And offset here as well. Here as well. We've covered the camera
frame. I can save. And now this could be
the output I can use. Again. Initialize to this plane. I can rerun there
now, obviously, obviously, because we
have changed this. And you can see here,
this has changed. The scale is going to change. So perhaps we want to change
the scale of the texture, either the scale of
the UV or the texture, but I think it's
easier to do texture. So let's go back to the ground and to
the scale texture. But then, first, take a snapshot and create a new render
is going to be different. Because now the
scale is different. So because the UV, I'm in the spaces that the
polygons used to take. Let's nowadays you can
more of the texture. So now it's just a
matter of tweaking it. Perhaps something like this. This would work. Okay, So what we have
done is optimized. We have now a lot less
geometry to worry about. This, what we've called, let me just remove the
template from this one. That's what we have.
Just what we need. Nothing else.
Film VFX
