WEBVTT 00:00.060 --> 00:04.200 In this lesson, I want to finish up the Ghostbuster trap, so let's take a look at where we are at 00:04.200 --> 00:06.020 right now with the Arnold interview. 00:06.360 --> 00:09.450 I'll play so we can preview the render here. 00:09.870 --> 00:16.710 And you can see that I've gone and ahead and done some textures for these other panels as well with 00:16.710 --> 00:18.030 the same method we've learned about. 00:18.030 --> 00:22.260 You can see this one is maybe too dark here. 00:22.260 --> 00:25.110 So let's take a look at that one real quick and refine that. 00:25.110 --> 00:29.430 I'll open up the attribute editor and first delete the history here. 00:30.700 --> 00:39.880 And also, I'd like to say to save often when you're doing these render previews, Mike and Crash, 00:40.300 --> 00:42.340 it's not uncommon for it to crash here. 00:42.340 --> 00:44.410 So scroll down to the color balance. 00:44.410 --> 00:49.480 And if you remember, we have these Alpha Gane sliders and we actually go past two, which is where 00:49.480 --> 00:54.430 the slider wants to go to now, split hit three and then just keep driving this up until I kind of get 00:54.430 --> 00:58.570 that contrast that I like to see between the rust and the metal. 00:58.960 --> 01:04.120 So I'll drag that up maybe a little bit more and then spin around and see where the reflection is kind 01:04.120 --> 01:07.340 of similar between these panels, because I don't want them to be too different. 01:07.780 --> 01:12.610 OK, so the next thing I want to do is attack this kind of black metal here. 01:12.940 --> 01:18.790 This fractal that we used in one of the first lessons is pretty obviously a fractal and you want to 01:18.790 --> 01:21.490 avoid that type of texturing. 01:21.820 --> 01:25.780 So let's click this and get into the surface here. 01:26.110 --> 01:28.600 Let's go to the roughness as we get to the fractal. 01:29.050 --> 01:34.780 And let's first go into the texture and actually increase the coverage. 01:35.110 --> 01:37.780 So you can see there's this one big piece here. 01:37.780 --> 01:39.250 So scale all this down. 01:39.250 --> 01:46.120 So it's a lot more coverage and all of these areas here so we can cheat that by going into the place 01:46.120 --> 01:50.770 2D texture and actually repeat the UVs more than one time. 01:50.780 --> 01:51.940 So let's go five. 01:51.940 --> 01:54.790 We could actually, you know, stretch it and make it look streaky. 01:55.120 --> 02:03.490 But in this case, I want to keep it even and maybe even go further into maybe eight and eight. 02:05.350 --> 02:07.090 And then now we have that. 02:07.090 --> 02:14.200 Let's go back into the fractal and adjust the texture here by bringing down the amplitude so that it's 02:14.200 --> 02:16.060 a lot more subtle of an effect. 02:18.590 --> 02:22.720 So it's not like these big chunks every once in a while, but. 02:23.990 --> 02:28.250 And of course, scroll around if you can tell this is taking a minute to update. 02:28.460 --> 02:33.260 The other thing that we have at our disposal here is this crop region so we can click and drag just 02:33.260 --> 02:37.040 our region here so that it will update a much quicker. 02:37.490 --> 02:42.140 So now we can see as we rotate around the fractals working pretty good. 02:42.140 --> 02:44.050 Maybe it's still a little strong here. 02:44.060 --> 02:48.950 So if we don't want to bring down the amplitude, we can always go to the color balance balance and 02:49.220 --> 02:51.220 adjust the alpha gain here as well. 02:56.530 --> 02:59.800 So that's working pretty good, we can also increase the offset. 03:02.320 --> 03:04.780 So that everything comes down with it. 03:05.260 --> 03:12.340 Let's see, let's just turn all the way off here and increase the alpha gain and try to find a happy 03:12.340 --> 03:19.750 medium here, maybe it's the amplitude that to kind of even this out, bringing this back down and bringing 03:19.750 --> 03:21.770 some of their reflection back. 03:21.790 --> 03:24.640 So I'm just adjusting these, you know, it's not a perfect science. 03:25.210 --> 03:31.660 And you really have to kind of train your eye because it's easy once you're making these tiny little 03:31.660 --> 03:35.700 tweaks to get lulled into a sense of it looking good. 03:36.070 --> 03:44.560 So I like to kind of go at the extremes, kind of push it and see if I'm really actually doing any good. 03:45.580 --> 03:48.820 If this is actually going in the direction I wanted to go. 03:49.960 --> 03:53.020 So I think something like that was probably going to be good. 03:53.960 --> 03:56.850 Um, we can always adjust that later. 03:57.190 --> 04:02.290 But the other thing I'd like to do is add that same fractal, because we've already put all this work. 04:02.610 --> 04:05.620 I want to have to create entirely new fractal for this shader. 04:05.860 --> 04:16.060 So I'm going to save this real quick and click this and delete the history so we can get into the surface 04:16.060 --> 04:20.890 here and open up the hypercharged as well, so we can actually map this out much quicker. 04:21.800 --> 04:27.260 What this load up and then click this little button here, so we get the object that we have selected, 04:27.270 --> 04:28.940 we can get that all mapped out. 04:29.240 --> 04:34.910 The other thing I want to do is so let's click both of these some shifts, selecting over here in the 04:34.910 --> 04:38.710 viewport so I can select both of these at the same time and get both of them pulled up. 04:39.020 --> 04:42.230 So now that we have the fractal here, we can just pipe this in. 04:42.590 --> 04:46.850 And I'm just going to turn this off for now because I've had it crash earlier on me when I was trying 04:46.850 --> 04:47.360 to update. 04:47.780 --> 04:50.220 When you're putting in new textures, sometimes it doesn't like that. 04:50.280 --> 04:55.430 I'm going to actually let me zoom in here so you can see this, because I'm not sure how small your 04:56.360 --> 04:57.380 you're watching it on. 04:58.100 --> 05:03.380 Basically, what I'm doing is I'm taking the same situation we have here out Alpha, going into the 05:03.380 --> 05:06.830 specular roughness that we've been messing with on the black metal. 05:06.830 --> 05:13.940 And I'm just going to pipe that into the specular roughness on the ramp of the doors here so that we 05:13.940 --> 05:16.010 can kind of take advantage of the work we've already done. 05:16.430 --> 05:23.150 So when I open up the Arnold interview again, hit play and now you can see we have that to our advantage 05:23.150 --> 05:23.360 here. 05:23.450 --> 05:26.750 Now we can use both of them and. 05:27.740 --> 05:28.920 It's looking pretty good. 05:29.270 --> 05:31.610 The other thing we can do is add a bump map to this. 05:32.030 --> 05:35.690 So let's go into the Shater. 05:36.050 --> 05:40.470 I'm just clicking that when I close in the Hypercharged and let's create a bump map. 05:40.520 --> 05:47.920 Let's go to geometry and let's click that and go to you know what? 05:47.930 --> 05:50.270 Let's actually use the same thing that we've done. 05:50.630 --> 05:54.610 Let's open up the Hypercharged again and just kind of use this ramp to our advantage again. 05:55.160 --> 05:58.850 So let's click this and map it out. 06:00.690 --> 06:10.440 And let's duplicate this ramp, and if I copy paste, it will work pretty well and now I have a duplicate 06:10.440 --> 06:12.060 that I can adjust a little bit. 06:12.060 --> 06:16.680 So if you remember earlier, we have a linear interpolation. 06:16.680 --> 06:17.820 There's no fuzziness here. 06:17.820 --> 06:20.910 And if we pipe that in as a bump map, it's going to look pretty wonky. 06:20.910 --> 06:23.480 So we're going to adjust the ramp and that's why we're duplicating it now. 06:24.030 --> 06:29.940 So with the A.I. Standard selected, let's click bump map and let's just choose file so we get all that 06:30.240 --> 06:33.930 mapped in here properly and we can we don't want the file, so we just delete that. 06:33.930 --> 06:38.720 We just clicked file just so it maps this node here for us. 06:39.300 --> 06:45.570 So let's take the ramp and input the bump value of the Alpha into the bump value. 06:46.050 --> 06:49.740 And if we take a look at this, we can't really see much happening yet. 06:50.160 --> 06:58.500 And let's just turn on the crop here and let's go to the ramp itself. 06:58.500 --> 07:01.680 And we actually click this little button here and get a bigger view of it. 07:01.860 --> 07:02.790 Let's open this up. 07:02.790 --> 07:08.490 And before we change the interpretation, which we can do here, let's just add some anchor points here 07:08.910 --> 07:13.910 so that the colors will stay the same. 07:14.220 --> 07:19.170 So I'm just clicking in the middle here and just kind of going through so that there's a point on either 07:19.170 --> 07:19.290 end. 07:19.290 --> 07:21.750 There's a black to black and then yellow to yellow. 07:22.380 --> 07:27.530 And that way it'll kind of hold up these lines when we change the interpolation. 07:28.110 --> 07:32.700 So just trying to drag these kind of close to their partners here. 07:33.210 --> 07:35.180 And that looks like it's going to be pretty good. 07:35.820 --> 07:40.830 Now if we change the interpolation to maybe Lynnae or something like that, we can see now there's this 07:40.830 --> 07:44.160 bump right here because you can see where this is fading out. 07:44.160 --> 07:51.270 Now, we can change this to something else and we can see how this changes the bump map here on the 07:51.720 --> 07:52.290 ramp. 07:54.660 --> 07:59.190 So it looks like this actually has some separation now, kind of get down at an angle like this, we 07:59.190 --> 08:05.040 can kind of see that it looks like these are two separate levels here and we get that just it's cheating 08:05.040 --> 08:09.090 it even though this is one piece of geometry, this really shows the power of bump maps. 08:09.810 --> 08:16.380 So we can kind of add some dimensionality to these doors without having to do, you know, any more 08:16.380 --> 08:17.730 modeling or anything like that. 08:17.730 --> 08:19.020 We can do it in the texture's. 08:19.560 --> 08:25.440 So just keep that in mind as you're working that that's a possibility and it looks like it's a little 08:25.440 --> 08:26.240 too strong. 08:26.250 --> 08:29.970 So let's bring up the hypercharged go to the bump here. 08:29.970 --> 08:36.630 And now we can adjust the bump depth, maybe bring that down to point five, maybe even point one. 08:37.290 --> 08:40.050 We just want something subtle to. 08:41.020 --> 08:49.460 Kind of separate these colors out might be not strong enough, so I think that's working pretty good. 08:49.910 --> 08:54.280 I always like to look at it from different angles to make sure it's working OK. 08:55.210 --> 09:02.080 The other thing we can do with these the ramp and especially in this bump, let's get to an angle or 09:02.090 --> 09:03.910 we can kind of see this effect happening. 09:04.400 --> 09:06.790 I'm going to try to zoom in here as much as I can. 09:08.050 --> 09:09.790 So you can see it on your screen. 09:12.980 --> 09:21.710 Let's go into the ramp and we actually have noise here, so if I start with the noise, you can see 09:21.710 --> 09:25.130 there's these really big waves here and we want very small waves. 09:25.430 --> 09:27.040 So we want to increase the frequency. 09:27.050 --> 09:28.280 So let's just crank this up. 09:28.790 --> 09:33.380 And you can see there's way more waves here, but it's still not high enough. 09:33.380 --> 09:35.690 So let's we can type in our own values. 09:36.140 --> 09:39.710 And now you can see it's starting to look a lot more noisy there. 09:40.070 --> 09:46.760 But we just want just a little bit of it to come through on those edges so that they're not totally 09:46.760 --> 09:47.290 straight. 09:48.020 --> 09:48.680 So check that out. 09:48.690 --> 09:55.250 Now, we had like a little noise to this separation here to make it look even more organic and just 09:55.250 --> 10:00.990 kind of keep dialing that in to make it look, you know, a little rougher here. 10:01.040 --> 10:06.200 So when we're doing that procedurally, you know, we're not having to go back into Photoshop. 10:06.200 --> 10:07.550 We're not having to do anything like that. 10:08.000 --> 10:12.730 We can just update this as we want to inside of Maya. 10:12.740 --> 10:16.550 And that's, you know, the power of procedural texturing. 10:17.420 --> 10:20.300 So in the next lesson, let's take a look at lighting this thing. 10:20.930 --> 10:26.150 And a more interesting way, one of the last things I'm going to do is continue to add shaders to these 10:26.150 --> 10:27.350 gray pieces here. 10:27.650 --> 10:32.750 These are basically going to be read versions of this shader we've already made here. 10:32.960 --> 10:37.400 So you could duplicate out these shaders and then just change the color to red type that in. 10:37.400 --> 10:41.330 And then you could even do some of your own texturing with 3D paint. 10:41.870 --> 10:44.090 And you can see how far we've come. 10:44.090 --> 10:50.030 If you remember from the beginning, our model looked pretty similar to this chrome ball here. 10:50.030 --> 10:52.940 The reflections on here were very chrome like. 10:53.270 --> 10:57.470 So just quickly, I just want to show you, you know, of course, The Presets, which we've already 10:57.470 --> 11:00.980 looked at, but I just want to drive that home that it's a good place to start. 11:00.980 --> 11:05.780 If I sign a new material, go to Arnold Qader, Standard Surface and. 11:07.160 --> 11:09.560 Wait for it to pop up and I'm just going to call this rubber. 11:12.290 --> 11:19.730 And use the preset here and go down to rubber and go over to a place that's just off the screen there, 11:20.190 --> 11:23.530 so it's a really quick starting point for us. 11:24.230 --> 11:26.510 It's maybe a little too bright. 11:26.510 --> 11:30.230 The color isn't dark enough, so let's just dial that down. 11:30.920 --> 11:34.700 And then, of course, we can add procedural textures to it and make it a little rough and whatnot. 11:34.700 --> 11:40.880 But I'm probably going to use that same shader on the little nubs here, the little cylinders, they 11:40.880 --> 11:48.140 go around this and then I'm probably gonna use the metal shader on the inside pieces here and these 11:48.140 --> 11:51.260 disks and make maybe a new one for the screw here. 11:51.530 --> 11:52.810 But yeah, this is pretty much it. 11:52.820 --> 12:00.230 We've basically done a pretty good job of shading this entire piece and it looks, you know, pretty 12:00.230 --> 12:00.620 decent. 12:00.620 --> 12:06.110 If this is your first thing ever shading and Maya and 3-D, you should be pretty proud if you've gotten 12:06.110 --> 12:06.620 this far. 12:06.980 --> 12:12.920 And one trick real quick that I wanted to show you is say I want to play a texture just to this piece 12:12.920 --> 12:16.790 here and not the kind of rubber nubs around the outside. 12:16.790 --> 12:21.860 If I click this, because these are children of this, if you remember in the modeling where we parented 12:21.860 --> 12:27.050 all of these to this so that they all rotate together, it's hard to select this thing. 12:27.050 --> 12:28.280 You know, we're going to if we. 12:28.280 --> 12:28.460 Right. 12:28.460 --> 12:30.730 Click and start assigning any shaders is going to silence everything. 12:31.130 --> 12:36.200 Well, one easy way to go about selecting just that kind of parent piece that's controlling everything 12:36.470 --> 12:38.660 is to press down on your keyboard. 12:38.660 --> 12:40.310 And now we just have that piece. 12:40.670 --> 12:43.670 So now you can separate your selections if you like. 12:43.850 --> 12:50.300 So I'll just finish this up with the red pieces here and the other rubber shaders being applied. 12:50.480 --> 12:54.280 And in the next lesson, we're going to learn about lighting this thing with a little bit of fog. 12:54.290 --> 12:54.980 Thanks for watching.