WEBVTT 00:00.120 --> 00:00.690 Welcome back. 00:00.690 --> 00:06.720 In this lesson, we're going to learn how to create this brush and metal shader that's on these panels 00:06.720 --> 00:09.060 here, you can see it in the reference. 00:09.480 --> 00:15.590 You know, this is a very subtle kind of streaking texture here. 00:16.140 --> 00:19.260 And so let's jump in and start to create it. 00:19.680 --> 00:20.100 All right. 00:20.100 --> 00:21.110 Click on the object. 00:21.120 --> 00:25.830 And actually, before we do that, let's just delete the history so we can access the tabs a little 00:25.830 --> 00:28.060 easier here, as we've done before. 00:28.110 --> 00:34.440 Let's right click go to assign the material and go to the Arnold shaders and choose a standard surface 00:34.440 --> 00:35.460 as we've done before. 00:35.880 --> 00:39.840 Let's rename this this time so it's easier to apply to the other surfaces later. 00:40.420 --> 00:41.730 Going to call this brush metal. 00:44.030 --> 00:52.340 And hit enter to make sure that is applied, let's scroll to the top here and let's turn on the Arnold 00:52.360 --> 00:54.410 reinterviews so we can see the changes we're making. 00:55.220 --> 00:58.040 We know that this I'm going to screen play here. 00:58.370 --> 01:05.000 We know that this object is metal so we can at least increase the metal to start. 01:05.810 --> 01:11.120 And there's a new concept we need to cover, which is called Anisotropy. 01:11.450 --> 01:22.130 And if you look at reference of anacetrapib reflections, they are basically saying all reflections 01:22.130 --> 01:24.230 are happening in one direction. 01:24.770 --> 01:29.480 And it's kind of like this streaky pattern in metals that happen. 01:29.780 --> 01:35.480 So that's why it's its own little, you know, control here is because that's a very specific type of 01:35.480 --> 01:37.430 metal and type of reflection that occurs. 01:37.850 --> 01:42.200 And that's that looks like what's happening here in this Ghostbuster trap. 01:42.530 --> 01:44.240 That's an anisotropy reflection. 01:44.690 --> 01:46.790 So let's increase Anisotropy. 01:47.710 --> 01:55.830 And let's increase the rotation just a little bit so we can control actually how the rotation, the 01:55.900 --> 01:57.190 rotation of the reflections. 01:57.730 --> 02:03.220 So depending on where you want that kind of highlight to occur, you can control with rotation. 02:03.680 --> 02:08.530 I'm just going to get it somewhere or you can kind of see it on a three quarter angle and. 02:09.420 --> 02:17.130 So the other thing we need to cover is these kind of bumps here, there's a long streak, bumps now. 02:17.130 --> 02:22.770 We can control that by a bump map and a bump map is exactly like what it sounds like. 02:23.130 --> 02:27.030 It is a a map or texture. 02:27.480 --> 02:30.840 Anytime you hear the word map, that means a texture, basically. 02:30.840 --> 02:38.550 Usually a bump map is basically saying take the color values from zero to one black, the black and 02:38.550 --> 02:44.820 white values, and say that zero goes in on the surface and black goes out or some other way around. 02:44.820 --> 02:45.360 Always forget. 02:46.170 --> 02:54.300 But basically it's just using that value information of black to white to say this goes in or out. 02:54.660 --> 03:02.880 And it doesn't really matter as much usually because bump maps are only on very subtle things, because 03:02.880 --> 03:07.560 bump maps do not actually deform geometry, displaced displacement maps to. 03:07.650 --> 03:09.870 And that's a different topic for another time. 03:09.870 --> 03:17.580 But but maps are only used on very small, detailed things that aren't going to change the silhouette 03:17.580 --> 03:18.240 of an object. 03:18.540 --> 03:23.640 So if we added a bump map to this and we looked at the silhouette, basically this line back here, 03:24.150 --> 03:31.170 you know, it could maybe that the bump basically fakes this effect and makes it look like new. 03:31.170 --> 03:32.340 There's these deep cuts. 03:32.340 --> 03:33.780 There are streaks in this thing. 03:34.230 --> 03:38.160 And but then when you get to the silhouette, it just still is a flat object. 03:38.160 --> 03:40.340 There's not the streaks and all go all the way to the edge. 03:40.800 --> 03:44.100 So anyway, but maps are just kind of subtle stuff. 03:44.100 --> 03:46.430 And I think that's perfect for what we're going for. 03:46.800 --> 03:53.190 So let's create about MAP by going down to geometry and clicking on the checker box here next to about 03:53.220 --> 03:53.670 mapping. 03:54.360 --> 03:55.980 And let's create a fractal. 03:56.550 --> 04:00.570 And when we first created the default, values are pretty aggressive. 04:01.230 --> 04:08.010 The bump depth is at one and that controls, you know, based on these zero to one values that we're 04:08.010 --> 04:12.570 getting from the bump value, which you can see there's something piped in here and that's going to 04:12.570 --> 04:14.550 be the fractal that we selected. 04:15.070 --> 04:15.480 Right. 04:15.480 --> 04:16.380 Click that we can see. 04:16.380 --> 04:17.880 It just looks like a normal fractal. 04:18.150 --> 04:20.520 It's not streaky like we need it, so we need to adjust that. 04:20.970 --> 04:26.790 But the amount that's being bumped here, you know, the surface looks very, very rough. 04:27.150 --> 04:30.990 But if we look at the silhouette, the silhouette is the same. 04:31.230 --> 04:33.900 You know, if we're looking down here, it's just a straight line. 04:34.260 --> 04:38.610 So that's why I'm saying the bump map is for very subtle effects. 04:38.830 --> 04:43.560 So I'm typically only using, like, point one or point zero one or something like that. 04:44.160 --> 04:47.670 So you can also see it increases render time. 04:47.910 --> 04:51.870 There's a lot more things that's having to calculate light bouncing around. 04:52.710 --> 04:55.800 So the more subtle the effect, the quicker it can go. 04:56.220 --> 05:02.670 Usually I'm just going to increase that so we can actually see the effect while we're working on it. 05:03.000 --> 05:11.880 The other thing we can do is, of course, isolate this using the isolate button here and or we can 05:11.880 --> 05:15.390 select it from the hyper sheild just to choose the fractal itself. 05:15.960 --> 05:24.000 So let's go to with the object selected here, we can click this button to graph everything out, then 05:24.000 --> 05:26.210 we can select the fractal and now we can see the fractal. 05:26.970 --> 05:29.190 So we need to figure this out somehow. 05:29.370 --> 05:38.520 And one way to kind of cheat it and hack of the nodes that we have here is by increasing the UVs in 05:38.520 --> 05:39.240 one direction. 05:39.540 --> 05:44.970 So you can see when I click that everything went dark because it's isolating something that's really 05:44.970 --> 05:45.510 not visible. 05:45.510 --> 05:51.360 This is just a node with information about the UVs for this texture, how it's going to be placed on 05:51.360 --> 05:51.900 the object. 05:52.230 --> 05:58.380 So we need to select the fractal and choose that place texture node from this tab, actually. 05:58.380 --> 06:01.380 So now it'll keep this in the Arnold render view. 06:02.010 --> 06:10.560 So if we go down here, we can see repeat UV and if we hold down command on our keyboard on a Mac and 06:10.980 --> 06:18.420 middle mouse drag on this value, we can increase or decrease that and. 06:19.490 --> 06:28.480 We can basically create these streaks ourselves with adjusting and distorting the moves for this texture. 06:29.300 --> 06:35.420 So the other thing we need to affect is the fact that, you know, these lines aren't super solid. 06:35.450 --> 06:37.510 They kind of go dark and bright. 06:37.880 --> 06:43.400 So we need to adjust the fractal and we can do that in amplitude. 06:43.400 --> 06:45.140 Even though this goes just to one. 06:45.740 --> 06:50.060 You can see the amplitude kind of controls the contrast here, even though this goes to one, you can 06:50.060 --> 06:51.410 type in new values here. 06:51.410 --> 06:53.420 So I'm going to type in like a five something big. 06:53.780 --> 07:03.950 So now you can see this definitely has a stronger effect and we can decrease the ratio as well, which 07:03.950 --> 07:06.290 is basically like how detailed this thing is. 07:07.160 --> 07:12.170 And just go way down with that, and we can also do that for the frequency. 07:12.770 --> 07:16.050 So what kind of smooth out those as well? 07:16.790 --> 07:19.970 So now we can kind of get an idea of how aggressive. 07:21.240 --> 07:24.210 You know, maybe we increase the amplitude even more. 07:24.990 --> 07:29.760 Let's just see, you know, it's, uh, who knows what the best thing to do here as. 07:32.010 --> 07:35.640 It's all just kind of experimenting, and that's what's the beauty of Arnold rendered interview and 07:36.030 --> 07:38.820 isolating these things is seeing this in real time. 07:39.120 --> 07:42.350 So I think we need a little more distortion here. 07:42.360 --> 07:46.620 So let's increase this to get some more lines going down this thing. 07:48.550 --> 07:54.580 And that looks about like the density we saw in the reference and now let's turn off the isolate and 07:54.580 --> 08:01.120 we can see we have these streaks now and we used procedural texture that we can change in real time 08:01.390 --> 08:05.370 inside of Maya, and that's super useful. 08:05.410 --> 08:07.820 This was a photographic texture we're using for a bump. 08:07.820 --> 08:12.280 It'd be really time consuming to go back and forth between Photoshop. 08:12.640 --> 08:19.090 So let's go to the bump and decrease this back down now that we can kind of see the effect it has on 08:19.150 --> 08:20.140 you, like a point one. 08:20.890 --> 08:22.660 And that looks pretty good, actually. 08:23.170 --> 08:24.790 I'm going to zoom out and. 08:25.900 --> 08:34.260 Going to apply this to the other objects, so when I click these shifts like the other one and I'm going 08:34.260 --> 08:34.650 to right. 08:34.650 --> 08:36.180 Click and go to. 08:37.690 --> 08:45.370 The assign existing material because we named it, we can easily identify it so we can see that maybe 08:45.370 --> 08:47.920 for this angle it's way too strong. 08:48.670 --> 08:51.510 This you know, this one looks right, but that one doesn't. 08:51.970 --> 08:54.030 So it could be a lot. 08:54.100 --> 08:55.390 I think it's a lighting issue. 08:56.170 --> 09:01.500 And depending on the angle of the object to light, it might affect it. 09:01.690 --> 09:09.430 Let's say that we like this for this one, for these two panels, but we don't want to change all of 09:09.430 --> 09:10.120 them together. 09:10.600 --> 09:13.650 Let's create a new shader for that front panel there. 09:13.990 --> 09:22.300 So in the shade, we can go down and see the airbrushed or sorry, the airbrushed, the brush metal 09:22.630 --> 09:24.640 and we can go to edit. 09:25.620 --> 09:32.400 Duplicate the shading network, so basically make a copy with all of the inputs and it'll create a new 09:32.400 --> 09:33.510 fractal and all that. 09:33.510 --> 09:38.370 And just so you know as well, it's keeping track of all these things you're making in each one of these 09:38.370 --> 09:38.880 tabs. 09:39.270 --> 09:41.780 So you can see fractal one, two, three, blah, blah, blah. 09:42.120 --> 09:46.770 And so you can get back to those there as well and reuse them even. 09:47.100 --> 09:50.460 You know, if you wanted to use the same fractal over and over, you could do that. 09:50.460 --> 09:52.230 But they don't cost anything. 09:52.230 --> 09:54.990 And I encourage you to, you know, use as many as you need. 09:55.140 --> 09:58.470 Now, we just need to apply this duplicated material to this one. 09:59.160 --> 10:02.860 So I'm going to middle mouse, drag it over the object and let go. 10:03.660 --> 10:08.040 So nothing change because it's the same duplicated shader. 10:08.490 --> 10:12.960 But with this object selected, I'm going to graph just that one out. 10:13.770 --> 10:23.810 And let's go to the bump and maybe reduce that down to point zero zero one and that kind of fixed it. 10:24.000 --> 10:26.640 So that was quick and easy. 10:27.150 --> 10:29.430 So that actually worked better than I thought it would. 10:30.050 --> 10:34.350 Um, so, yeah, that's how we created kind of a brush metal effect. 10:34.620 --> 10:39.000 Again, we could go in and add a fractal to the roughness. 10:39.660 --> 10:46.580 Um, I think that's definitely worth looking at or just increasing the roughness just a little bit. 10:47.190 --> 10:48.510 Let's see what that does. 10:50.150 --> 10:57.710 So you kind of see it quick and quickly get out of hand as it's trying to, Rufus's kind of spreading 10:57.710 --> 10:58.730 out the reflection. 10:58.890 --> 11:05.330 So depending on how you want to you, you know, want this to look, you can continue to adjust those 11:05.330 --> 11:09.150 settings from the attribute editor and with the hyper shade. 11:09.920 --> 11:11.480 So in this lesson, we learned a lot. 11:11.480 --> 11:17.660 We learned about bump maps mostly and how to control an isotropic reflections. 11:18.170 --> 11:22.910 And in the next lesson, we're going to continue creating the shaders for this object. 11:23.330 --> 11:24.710 And I look forward to seeing there. 11:24.890 --> 11:25.400 Thanks a lot.