WEBVTT 00:00.060 --> 00:05.370 Welcome to this lesson where we will finish the Bones character by adding some texture to the surface 00:05.370 --> 00:10.710 of his bones with something called displacement maps, we've learned about bump maps and a previous 00:10.710 --> 00:14.760 lesson that doesn't displace the actual geometry. 00:15.090 --> 00:20.040 But in this case, we want to learn about a map that will add geometry at render time. 00:20.310 --> 00:25.350 So it'll keep us from having to have very dense geometry in the scene, because if we go up here and 00:25.350 --> 00:26.880 we go to display. 00:28.230 --> 00:35.820 Heads up display, let me just tear this off and we can turn on Polli count and you'll get this little 00:36.360 --> 00:45.450 box up here of numbers and you can see that we have one hundred and sixty thousand one hundred and twenty 00:45.450 --> 00:46.230 eight faces. 00:46.560 --> 00:53.670 And this is kind of the number you want to look at when you're calculating how dense is my geometry. 00:54.060 --> 01:01.890 And we have one hundred and sixty thousand and you can get up to several millions of faces worth of 01:01.890 --> 01:10.410 faces when you have a very dense piece of geometry, like a high resolution character for film and TV. 01:10.530 --> 01:17.760 So to reduce the amount of faces which slows down the machine and slows down the render time, we can 01:17.760 --> 01:23.970 actually add geometry at render time and all that detail render time so we don't have to actually manage 01:23.970 --> 01:29.460 it and use it and see it in this scene, because if we start animating this with several millions worth 01:29.460 --> 01:34.860 of polygons, it's going to be very, very slow and the animators will not like to do that. 01:34.980 --> 01:37.610 And which is usually if you're a one man studio, that's yourself. 01:37.980 --> 01:45.110 So let's figure out how we can add some detail without adding any polygons in our scene. 01:47.250 --> 01:54.000 OK, so let's first add the Qader, so everything has the same kind of bone color to it, so I'm going 01:54.000 --> 01:54.990 to select everything. 01:56.950 --> 02:03.550 Just by clicking and dragging and then control shift clicking, because remember, if you if I was the 02:03.550 --> 02:06.280 shift, select this, it will deselected or select it. 02:06.610 --> 02:11.290 And to add it for sure, I want to control shifts like so it'll always be adding. 02:11.830 --> 02:13.540 So now we have all that selected. 02:13.540 --> 02:21.490 Let's right click and add a new material and we'll make a standard surface like we've done before. 02:22.030 --> 02:24.940 And then the color will just color pick this color here. 02:25.300 --> 02:28.910 So I'm going to go to color, choose the picker and pick this color. 02:29.980 --> 02:33.460 Now everything should be the same color as our bone am. 02:33.460 --> 02:38.290 I look a little different here and we can adjust that later depending on how accurate the picture was, 02:38.500 --> 02:41.010 but that'll get us pretty close for now. 02:41.590 --> 02:43.990 So we have the shader. 02:44.440 --> 02:46.240 Let's open up the Hypercharged and take a look at it. 02:46.630 --> 02:50.320 So I'll select one of the bones and I'll click this little button to map it out. 02:51.640 --> 02:53.050 And it's pretty basic. 02:53.050 --> 02:56.260 There's nothing coming in yet like textures or procedural textures. 02:56.680 --> 02:58.060 But take a look at this group. 02:58.060 --> 03:05.590 Every shader has a group once it's applied to a material sorry, once it's applied to a piece of geometry. 03:06.100 --> 03:11.140 And check out these two here and what we're going to be concerned with is it displacement shader? 03:11.680 --> 03:14.920 So let's let's take a look at what that actually means. 03:14.920 --> 03:19.210 But first, let's just get the shader in a good spot because it has all the default values. 03:19.600 --> 03:21.130 So let's turn on the Arnold render view. 03:21.130 --> 03:26.170 You hit play and again, you'll see that we need a light in the scene. 03:26.500 --> 03:28.060 So let's go to Arnold. 03:28.090 --> 03:29.550 Let's go to lights now. 03:29.650 --> 03:30.820 Let's create a physical sky. 03:33.010 --> 03:39.850 I want to click the dome light here and scroll down to the camera option and let's turn that the zero 03:39.850 --> 03:45.870 so that the actual visibility of the Sky Dome will not be visible in the render. 03:46.850 --> 03:49.000 We can test that here to show you the difference. 03:49.660 --> 03:51.510 So I'll go back to Arnold's interview and hit play. 03:51.550 --> 03:52.960 Now we can actually see our model. 03:53.500 --> 03:59.560 And if I crank up this camera now, you can begin to see the horizon and it's not really useful. 04:00.190 --> 04:01.290 So let's just turn it off. 04:01.810 --> 04:07.390 So the first thing you can see here is the fact that the reflections are very sharp. 04:07.750 --> 04:09.880 So let's turn up the roughness of the reflections. 04:10.480 --> 04:14.830 And to do that, we go into the standard surface and let's rename this to Bone. 04:19.560 --> 04:21.600 And let's turn up the roughest of the specular. 04:26.200 --> 04:31.990 So if you'll notice, the head is still has the Lambert that we use to do the three paintings, so we'll 04:31.990 --> 04:36.820 also need to apply this shader to it that we've been making here. 04:37.100 --> 04:42.520 But let's do it after the fact that we figured out all of these values so that we can just duplicate 04:42.520 --> 04:44.280 it out and apply it with that texture. 04:44.650 --> 04:52.150 So we have this material, this material and looking kind of bony has somewhat a shiniest, but it's 04:52.150 --> 04:53.250 also a rougher surface. 04:53.260 --> 04:55.740 So the specular highlights are not super sharp. 04:56.230 --> 04:58.260 So it's at a decent spot. 04:58.810 --> 05:01.790 And let's just evaluate the color here as well. 05:03.010 --> 05:10.650 Let's first get this material on the head and make a determination if we need to change the color. 05:11.170 --> 05:16.540 So I'll go to the bone and I'll say edit duplicate shading network. 05:17.770 --> 05:24.580 Now I'm just going to middle mouse drag this after I rename it to Bone Head and I'm taking a middle 05:24.580 --> 05:24.810 mouse. 05:24.850 --> 05:29.290 Drag this on the skull like go may or may not apply. 05:29.350 --> 05:32.950 If it's being finicky then you can right click down here with it. 05:32.950 --> 05:35.350 Select insists on material to viewport selection. 05:36.250 --> 05:42.730 OK, now you can see got rid of our texture, but we can go into our textures tab here and we can see 05:42.730 --> 05:48.310 that we have a file one, a reference file and let's just see what these are. 05:50.610 --> 05:56.400 So the reference files from modeling that we use to model the character and the file, one is actually 05:56.400 --> 05:57.410 our head shape color. 05:57.420 --> 05:58.920 This is our if we right. 05:58.920 --> 05:59.850 Click on it here. 05:59.880 --> 06:01.630 We can see the sample that is our head. 06:02.160 --> 06:07.920 So with the bonehead material selected here, let me just map these out. 06:12.650 --> 06:18.620 By clicking the rearranged graph button here and we can see them a little better, click the bonehead 06:19.010 --> 06:21.880 and its middle mouse, drag this file one onto the color. 06:22.760 --> 06:28.730 So real quickly, you can see that the color still isn't accurate between the texture and the shader. 06:28.730 --> 06:30.010 That doesn't have a texture. 06:30.020 --> 06:31.130 It's just a regular shader. 06:31.130 --> 06:33.560 But we're trying to match these two in color. 06:33.560 --> 06:34.430 Picking didn't work. 06:34.440 --> 06:38.890 So let me show you one other way to to go about matching color here between textures. 06:39.500 --> 06:46.970 Let's open up the UV editor, the editor, and I'm just going to dock the tool kit here. 06:48.880 --> 06:54.210 And select the head so that we have the texture and our viewport of the tool kit. 06:54.860 --> 07:02.810 Let's go to the Qader for that head and I'm just going to go to color of any of these and choose a picture. 07:03.730 --> 07:09.640 Now, if I hover over this, you can see I'm getting numbers here of one point eight five and point 07:09.640 --> 07:10.360 six five. 07:10.690 --> 07:13.900 So really, all we need to remember is point eight five and point six five. 07:14.020 --> 07:22.240 OK, so let's close this out and escape and let's select the bone material here. 07:24.510 --> 07:29.620 And to get to different types of values here, we can choose this and the numbers we were getting in 07:29.690 --> 07:32.250 were in RGB zero to one point zero. 07:32.820 --> 07:37.200 So we can enter these in here. 07:39.430 --> 07:42.610 And have the same color as the texture. 07:45.130 --> 07:53.020 So now you can see if we go to the Arnold interview that these two should be matching now. 07:56.700 --> 08:04.140 I'm going to turn on the 3-D manipulation so I can move around in the viewport of the render view, 08:05.250 --> 08:06.650 so now these two are matching. 08:06.750 --> 08:10.170 Let's give them some displacement detail and learn about displacement. 08:11.280 --> 08:12.350 So I'm going to zoom in here. 08:14.150 --> 08:17.780 And I'm going to open up the Hypercharged. 08:23.400 --> 08:25.200 I'm going to dock the interview here. 08:27.180 --> 08:36.510 Inside the hyper shade, so they can work on the material and see the render happen in real time here, 08:37.830 --> 08:45.480 so we have the bone selected, let's map it out and let's map in a fractal into the displacement shader 08:45.870 --> 08:49.280 so we know they're in the 2D textures and fractal. 08:50.280 --> 08:50.790 So. 08:52.060 --> 08:59.410 Let's move these so they're organized a little bit and just input the color and the displacement shader 08:59.410 --> 09:06.670 and see what happens now, it blows everything up and we need to adjust this. 09:07.270 --> 09:09.250 So let's open up the fractal here. 09:10.560 --> 09:16.470 And see it and the, uh, the appropriate aspirator on the side, right click and we can see it's just 09:16.470 --> 09:18.920 the default kind of things here. 09:19.350 --> 09:26.940 Basically what's happening is on a scale of zero to one or black and white, the displacement of Shater 09:26.940 --> 09:31.250 is determining should it push vertices out or in. 09:31.890 --> 09:40.800 And in this case, it looks like it's pushing them mostly out by quite a lot so we can adjust the color 09:40.800 --> 09:45.990 gain to reduce that amount of everything being displaced. 09:47.230 --> 09:49.740 And you can see it's kind of all coming down now. 09:52.700 --> 09:57.950 Because what we want is just something subtle on the surface, right, so we don't want everything to 09:57.950 --> 09:58.370 be. 09:59.540 --> 10:07.970 Displaced out a large distance, we just wanted to be very subtle just on the surface, but the problem 10:07.970 --> 10:13.340 we're contending with is that there's not a ton of geometry to move here if we look at the actual geometry 10:13.340 --> 10:14.570 that makes up this bone. 10:16.680 --> 10:23.310 It's not many vertices, right, so we need to figure out how to add geometry, render time. 10:23.670 --> 10:31.140 So to do that, let's go into the Arnold tab here of this bone shape and let's scroll down and look 10:31.140 --> 10:34.600 at subdivision currently set to none. 10:34.950 --> 10:36.240 Let's set it to Cat Clark. 10:36.390 --> 10:41.430 And that was just named after the type of math mortician, I believe, that figured this out. 10:42.030 --> 10:47.270 So as we turn that on, you can already see it has more detail. 10:47.670 --> 10:48.650 So let's go to none. 10:49.530 --> 10:51.260 And you can see there's no detail here. 10:51.270 --> 10:56.910 And let me just isolate this with the isolated region tool so that it updates maybe a little quicker. 10:57.240 --> 10:58.430 So you see there's no detail. 10:58.950 --> 11:01.560 Now we turn on Cat Clark and look what happens. 11:01.570 --> 11:03.210 We immediately get more detail. 11:04.290 --> 11:10.980 And let me just turn up the color gain here so you can see the difference a little more, obviously. 11:12.790 --> 11:16.780 So it is displacing it, but it's not very accurate, it's just a big block. 11:19.070 --> 11:23.920 So let's go back into the subdivision here by clicking on the piece of geometry and go into that Clark. 11:25.220 --> 11:28.630 You can see how much more detail is being added here because there's more geometry. 11:29.120 --> 11:32.570 Well, you can still see that it's kind of tearing here. 11:33.050 --> 11:37.950 And what we can do is increase the iterations even a couple of times. 11:38.540 --> 11:40.940 So now look at how much more detail there is. 11:42.020 --> 11:46.280 And that's actually pretty good, we might need to add a fourth. 11:48.980 --> 11:54.050 But three might be enough, it depends on how accurate you want this to get. 11:54.230 --> 11:59.300 Let's go back to the fractal shader here and just turn down the gain of this quite a bit. 12:03.420 --> 12:09.330 So now you can see we're adding a ton of realism at render time and we don't have to have millions of 12:09.330 --> 12:12.870 polygons, so you can just dial this in. 12:14.620 --> 12:20.710 Depending on how much displacement texture that you want, so when you get close to this thing, it'll 12:20.710 --> 12:27.430 have a little bit of texture to the surface and it will actually, unlike a bump map, it's actually 12:27.430 --> 12:29.070 displacing the silhouette. 12:29.860 --> 12:33.600 So if we're getting close here, we can see the silhouette is not around all the way around. 12:33.910 --> 12:38.140 And how this is used in modeling is typically out of a sculpting. 12:38.690 --> 12:43.660 This is a more intermediate type of thing to know, but out of a sculpting software. 12:43.990 --> 12:53.080 This is what's used to add a ton of detail like pores and things that are very fine level, even at 12:53.080 --> 12:55.480 a big level like scales or something like that. 12:55.870 --> 13:01.010 Displacement, displacement, mass will be increasingly important as you learn more about 3D. 13:01.450 --> 13:09.340 So what's left is to turn on this feature for every piece of geometry. 13:09.640 --> 13:16.540 But there's one way we can do that a lot quicker than having to click each piece as we've done, go 13:16.540 --> 13:22.600 to its shape tab, go to Arnold, go down here, click Kat Clark and go to four iterations, which maybe 13:22.600 --> 13:24.640 I'm going to just change to three for now. 13:25.630 --> 13:27.890 So let's select all of the go. 13:32.960 --> 13:36.590 And let's go to the Windows Journal editors. 13:38.010 --> 13:39.340 Attribute spreadsheet. 13:39.900 --> 13:46.290 So now we have the spreadsheet open, let's go up to the Arnol tab and let's scroll over. 13:48.650 --> 13:57.530 To where we can see the subdivision, so look right here, we can see a subdivision type and I subdivide 13:57.530 --> 14:04.010 iterations so it looks the same here, subdivision type, subdivision iterations. 14:04.370 --> 14:10.580 So it's this data just in a spreadsheet format and why this is important, because we can click one 14:11.150 --> 14:17.870 scroll to the bottom shift, click and type in Cat Clark and enter. 14:18.830 --> 14:25.340 So now we've turned it on for all of them and we can also turn the iterations to three. 14:25.340 --> 14:30.320 So I'm just going to click the bottom one, click the top one and type in three and hit enter. 14:30.920 --> 14:36.080 So now you can see for the one that we had last selected over here, it's done all of that. 14:36.080 --> 14:37.980 So we've done it for every piece of geometry. 14:38.360 --> 14:47.030 So if we turn on the Arnold reinterview again, then hit play, we can see that the ringer view does 14:47.030 --> 14:50.450 take a little more time to render it all. 14:50.700 --> 14:55.610 So it's something to consider when you're doing this, that it will increase the render time. 14:56.450 --> 14:59.840 But if you zoom in here, you'll be able to see a lot more detail. 15:00.620 --> 15:08.300 And if you've given your geometry the right kind of moves, the detail will be pretty similar across 15:08.300 --> 15:10.610 everything and consistent. 15:11.180 --> 15:14.570 So if we take a look at the phase, we can see that we haven't applied it yet to that. 15:14.930 --> 15:15.980 So let's open that up. 15:16.580 --> 15:17.630 Open the hybrid. 15:28.030 --> 15:29.530 Let's map that out. 15:30.520 --> 15:36.760 Let's also map it out with this bone, some just shifts, selecting these and then clicking the end 15:36.760 --> 15:37.720 and output's here. 15:40.580 --> 15:44.210 And you can see that we don't see the fractal here, so we actually need to map the groups. 15:44.690 --> 15:46.870 So let's map the groups out now we get the fractal. 15:47.420 --> 15:55.970 So let's just drag this fractal out color into the displacement group shader of the bone as well, the 15:55.970 --> 15:56.510 bone head. 15:57.080 --> 15:59.210 So now when we do that, you can see this is updating. 16:00.310 --> 16:02.660 And it's adding a lot more detail to the head. 16:03.520 --> 16:09.430 The last thing you might want to do at this model is just add a piece of geometry here so that the light 16:09.430 --> 16:12.710 doesn't go all the way through the nostril, so that this is actually just black. 16:13.330 --> 16:16.000 So let's grab a piece of geometry. 16:17.260 --> 16:21.250 And what it's actually we're seeing, it looks like, is this bone coming through. 16:21.760 --> 16:25.010 So we could there's a couple different ways we could resolve that. 16:25.450 --> 16:27.430 Let's take a piece of geometry. 16:29.090 --> 16:29.870 Just a plain. 16:32.510 --> 16:33.220 Let's bring it up. 16:38.510 --> 16:42.380 And will place it to block this piece. 16:44.010 --> 16:49.830 We can also put a Latisse on it to help to form it and get it out of the way, but I think this is probably 16:49.830 --> 16:51.890 going to be the quickest thing for us to do. 16:55.040 --> 16:59.380 Just increase that and going to shifts like the head and parent to the head by heading. 17:00.740 --> 17:02.690 So wherever the head goes, that will go with it. 17:03.740 --> 17:11.360 And we need to add a new type of shader here that is kind of a utility type of a thing to fix issues 17:11.360 --> 17:11.900 like this. 17:12.290 --> 17:15.350 Let's open up the Arnold render view so you can see what we're about to do. 17:16.700 --> 17:17.960 And the hypercharged. 17:22.290 --> 17:31.170 And let's right click and say, add new material and let's choose a surface shader, and this is a Miah 17:31.710 --> 17:37.290 shader, so it's click surface shader and the default colors blacks, that should be fine. 17:37.290 --> 17:44.080 But what a surface shader does is it has no reflections and nothing else pretty much. 17:44.130 --> 17:46.320 So we know it'll be totally black there. 17:48.530 --> 17:54.260 Let's turn on the Arnold our interview preview button here by hitting play and take a look at that now. 18:00.230 --> 18:09.710 So it looks like what this is actually showing up as is the light coming down into the skull from this 18:09.710 --> 18:10.340 direction. 18:10.820 --> 18:16.860 So it's not just this little piece of skull, but it's the entire back cavity here. 18:17.390 --> 18:19.370 So what we can do instead? 18:21.400 --> 18:22.030 Is. 18:23.780 --> 18:30.500 Place this in front of the eyes so that light doesn't go into the skull and it depends on however you 18:30.500 --> 18:37.130 want to resolve it for yourself, but this is just one way to make sure no light gets in here and that 18:37.430 --> 18:42.560 what we're actually seeing is going to be all black, if that's what you're going for. 18:45.270 --> 18:51.780 So in this lesson, we learned about displacement maps using the displacement shader for Arnold and 18:51.780 --> 18:59.550 what surface shaders are and how to apply the subdivision's at render time, this is kind of an advanced 18:59.550 --> 19:05.240 topic, but it is very, very important, very useful for any modeler. 19:05.250 --> 19:10.640 If you get into more advanced modeling techniques, you will use displacement maps. 19:10.890 --> 19:18.780 So it's very useful to know where that resides for the Arnold tab and for using the spreadsheet Ed, 19:18.780 --> 19:21.630 so that you can edit multiple pieces of geometry at once. 19:21.990 --> 19:27.210 So you're not having to select each one and go through and turn that on for each one so that that's 19:27.210 --> 19:34.170 it for the Bones section here, we're going to take a little look at lights and some rendering and I 19:34.170 --> 19:35.200 will see in the next lesson. 19:35.220 --> 19:35.910 Thanks for watching.