WEBVTT 00:00.210 --> 00:06.840 In the previous lesson, we signed a piece of the Ghostbuster trap, our first new material and dividing 00:06.840 --> 00:13.650 up these lessons in this way because we can't really evaluate the shader unless we can see it rendered, 00:13.980 --> 00:17.990 because we can't see reflections in the viewport here very accurately. 00:18.870 --> 00:26.160 And so we need to add some lights and we need to add something to reflect off of as well, because if 00:26.160 --> 00:32.970 we just add one light, it will illuminate the object, but there will be no other things around for 00:32.970 --> 00:34.740 it to reflect off of. 00:35.130 --> 00:40.440 So there are a couple new concepts you need to learn as well there. 00:40.530 --> 00:46.620 So there's something called an HDR, a high dynamic range image, usually on a visual effects set. 00:46.920 --> 00:51.480 They take photographs of a mirrorball and it looks something like this. 00:51.990 --> 00:57.870 You may have seen this in behind the scenes footage on Game of Thrones or some movie, something like 00:57.870 --> 00:58.170 that. 00:58.170 --> 01:04.200 But this is what a high dynamic range image is usually created from for visual effects. 01:04.470 --> 01:11.940 So they get accurate reflections because what's what we're going to do in 3-D is actually project this 01:11.940 --> 01:18.840 reflection inward so that the object in the scene will accept these types of reflections that this mirror 01:19.140 --> 01:21.470 chrome ball is receiving as well. 01:21.960 --> 01:28.100 So it might not make a ton of sense, but maybe it will once we get creating it ourselves. 01:28.470 --> 01:31.200 So let's go up here to Arnold and we'll go to lights. 01:31.680 --> 01:35.580 And you need to be in no specific tab. 01:35.670 --> 01:43.140 Arnold Tab is in every one so we can go to Arnold Lights and we can just tear that off for now because 01:43.140 --> 01:45.120 we were going to create another light in a moment. 01:45.720 --> 01:49.530 And in Maya, we actually have the option to create a physical sky. 01:49.950 --> 01:56.490 And what Arnold is trying to do is just make a very generic chrome ball. 01:56.850 --> 01:59.190 So it's going to be a physical sky. 01:59.190 --> 02:01.710 So it's going to be just kind of no texture. 02:01.710 --> 02:06.150 It's going to be colors and will be able to control all of that. 02:06.540 --> 02:11.760 But it's just trying to make it so that you don't have to have an actual image every time you want to 02:11.760 --> 02:19.800 create a sky or a kind of mirror chrome ball to be able to project reflections onto an object. 02:20.190 --> 02:27.090 So let's click physical sky and let's see what kind of render we get just straight out of the box. 02:27.450 --> 02:29.730 So let's go to Arnold Arnold render view. 02:30.510 --> 02:36.990 And when we first opened this, nothing happens and we need to tell it to start. 02:37.320 --> 02:40.650 So let's hit this play button and we'll say initiate that. 02:40.680 --> 02:41.760 That's pretty cool. 02:41.790 --> 02:46.950 We actually can see the difference between the two different materials we've applied already, which 02:46.950 --> 02:52.830 is this default Lambert, which comes with every single piece of geometry that's created in Maya and 02:52.830 --> 02:57.660 then our new Arnold shader, where we can see there's actually reflections happening now and the color 02:57.660 --> 03:04.620 is black and we can see this kind of rim reflection here based off of the physical sky that we created. 03:05.100 --> 03:08.370 So if we were to delete this physical sky, this disappears. 03:08.520 --> 03:10.890 There's no light for it to reflect from. 03:11.250 --> 03:13.230 So let's let's try a different light. 03:13.230 --> 03:15.000 Let's do a directional light. 03:15.000 --> 03:19.040 You can tell from the Arnold Lights tab there is no directional light. 03:19.050 --> 03:24.990 So Arnold uses directional lights, but it's not technically an Arnold, quote unquote light. 03:25.620 --> 03:31.530 So let's go to the rendering tab here and we can select this image here to get a directional light. 03:32.040 --> 03:36.180 So once we click that, we can see we start to get the image back here because we have some light in 03:36.180 --> 03:36.720 our scene. 03:37.380 --> 03:42.330 If we go into the viewport here, we can see we can scale up this light. 03:42.330 --> 03:43.770 We can see we have a selected here. 03:44.400 --> 03:45.270 Let's scale it up. 03:45.270 --> 03:48.960 And scaling it up won't have any effect on its intensity or anything else. 03:48.990 --> 03:53.940 It's just for us to see it a little bit better so we don't see the arrows are pointing in this direction. 03:53.940 --> 03:56.640 So we're actually illuminating the side we can't see right now. 03:57.000 --> 04:03.570 So if we just rotate this around now, we can see this object and you can see we are getting some reflections, 04:03.930 --> 04:13.650 but it's very obviously one directional and it's not as kind of illuminated as you would probably see 04:13.650 --> 04:17.910 in nature as much as we when we had the physical sky. 04:18.420 --> 04:18.930 So. 04:19.870 --> 04:27.580 This is just stuff to play around with that depending on how you want to render this or light it or 04:27.580 --> 04:31.000 use it, you may need to use a combination of these. 04:31.430 --> 04:34.360 We could use a physical light with a directional light. 04:34.370 --> 04:36.040 So let's create a physical sky again. 04:36.940 --> 04:44.440 So now we have kind of this key light and we have a fill light using the Skydome. 04:44.920 --> 04:49.240 And the terms I'm using key and fill are film filming terms. 04:49.660 --> 04:55.900 That is kind of a whole lesson in and of itself regarding cinematography that I won't necessarily get 04:55.900 --> 04:56.410 into now. 04:56.410 --> 05:00.790 But you can definitely look up or I might create a new course later about that kind of thing. 05:01.330 --> 05:03.550 But so basically this is how you create lights. 05:03.800 --> 05:06.250 This is how you start to see final renders. 05:06.610 --> 05:11.980 And what we're seeing here in the Arnold render view is a real time update. 05:11.980 --> 05:16.270 So it's constantly trying to finish out the render based on the settings we have. 05:16.900 --> 05:20.410 So this is just kind of there's a lot going on here. 05:20.410 --> 05:25.840 But I really just wanted to show that you can kind of click a couple of buttons and R to get like a 05:25.840 --> 05:27.030 nice kind of a render. 05:27.070 --> 05:33.340 So the next steps I would take is to finish applying the different types of materials to the object 05:33.670 --> 05:42.760 so I can unsullied this so you can see it here and we can apply this shader to these other objects that 05:43.210 --> 05:44.500 it's related to. 05:44.980 --> 05:48.700 So these are all going to probably have some version of that. 05:49.060 --> 05:53.110 So right now we can just apply that same shader we've already used. 05:53.470 --> 05:54.130 So if we right. 05:54.130 --> 06:00.130 Click and we go down to assign existing material, we can see that this is standard surface is already 06:00.130 --> 06:02.170 created so we can use it again. 06:02.680 --> 06:05.560 And if we were to update any of the settings. 06:07.000 --> 06:13.750 In the standard surface, Ashmead editor like changing the color, it'll change for all of them and 06:13.760 --> 06:15.590 we can see that update in real time. 06:15.970 --> 06:20.710 So what I highly, highly recommend is to get to this stage. 06:21.780 --> 06:28.440 And start to drag these sliders around, because you'll be able to see in real time what each one of 06:28.470 --> 06:35.490 these do, and it'll be much quicker than me going through and explaining what each one does and probably 06:35.490 --> 06:37.750 much more interesting for yourself as well. 06:38.220 --> 06:40.860 So definitely play around with this stuff. 06:41.370 --> 06:49.620 You know, roughness is a big thing that will dictate the type of feel that the material has. 06:49.650 --> 06:52.850 Sub-surface is more for humans. 06:53.190 --> 06:58.180 And so when you have metal in this on at all, you can see how great out. 06:58.200 --> 07:00.750 So as soon as we take the metal this off, it'll come back. 07:01.290 --> 07:03.220 But I wouldn't really get in the subsurface yet. 07:03.240 --> 07:05.610 That's a little more complicated for human characters. 07:06.210 --> 07:10.560 And other than that, I would play with these other ones like transmission. 07:10.980 --> 07:14.370 And again, if we have metal, Anderson, you can't really transmit. 07:14.730 --> 07:19.260 So some of these will become unavailable with metal shaders or if you're trying to get metal. 07:19.770 --> 07:24.480 But I think it's definitely worth trying and going and sliding some things around because that's the 07:24.480 --> 07:25.350 best way to learn. 07:26.080 --> 07:31.260 In addition to kind of the guidance here in these videos to show you which buttons to press to get to 07:31.260 --> 07:31.750 that point. 07:32.310 --> 07:39.540 So in the next lesson, we're going to delve a little deeper and talk a little bit about textures so 07:39.540 --> 07:43.170 that we can kind of get a big picture on textures as well. 07:43.380 --> 07:44.070 Thanks for watching.