Anime Style Toon Shading Tutorial in Octane for Blender with Lino Grandi | NVIDIA Studio Sessions

hello my name is Lena grandi and I'm a 3d artists at Auto a in this video we'll be going through the basic of Octane's to material and how it can be used to get some nice animal style look octane is very famous for its photo realism and speed even if you're using just one graphic card in this case I'm using a Quadro r-tx 5000 the one available on the laptop I'm recording this video with octane offers an extremely interactive real-time experience with photorealistic scenes and this feature really shines when turn shading is involved let's get started let's select our model and assign new octane material we can already start the octane preview render a universal material has been assigned by default we need to change it into a two material to do that we can click on the universal material button and simply press T that will replace the current material with the two material shader of course is also possible to just add a new material directly in the knot editor and attach it to the material output we already have one attached so we can get rid of the one we just handed to be able to work with the two material we need a special term light we already have a point light in the scene let's change it to Sun and click on use nodes we can now use the light direction to control the lighting of our mesh it is also possible to use the no direction option but in general I prefer the default option since you can visually check the relative orientation of the light in the scene let's select the model again we can use the diffuse option in the two material to change the shading color let's set it to pure white and add it to ramp texture you we can connect the RAM to the tune diffuse ramp inputs to better control the final shading moving the keyframes close to each other can help getting rid of the 3d shading effect we can change the color of each keyframe to control the shading getting the two keyframes close to each other is an option but the best thing to do to get a sharp termination between different color areas is to change the ramp interpolation from linear to constant let's change colors assigning the dark blue to the first keyframe and the lighter blue to the second one you we can change the specular intense using the specular option while roughness controls the sides of the spot even in this case we can use a to ramp to better control the look of the specular highlights simply attaching it to the term specular ramp input let's change interpolation to constant we can now add more keyframes and get some more complex specular thanks to the specular ramp we get total control over the position and color of the tune highlights we can detach the toon ramp from the specular input since for this model the basic settings are all we need let's set the roughness to a value close to 0.1 from the kernel settings we can assess the tone shadow ambient option we can use it to change the general color and intensity of the shadows setting it to black will also make shadows totally black while a white value will totally make them invisible a middle-range gray will work great for us it is also possible to switch from the tomb light to camera light mode in this mode the tomb light effect will be totally ignored and the camera will be considered the source light it can be useful sometimes but not in our specific case let's adjust the light orientation in order to get a more pleasant effect on the model we can now select our model again so to be able to further add it to the shading and work on the two edges we will change the edge thickness and color this option works quite nicely on this kind of very organic meshes it's using the incidence angle for the scope which can be not ideal for flat surfaces where you can easily get some extended and undesired dark areas as the cut on the arm clearly shows we can limit the issues setting the outline thickness to a very low level but that will also limit the general edge thickness let's use a value of 0.3 for it we'll use the dirt texture to create some nice additional edges let's plug it in the diffuse input the dirt texture is basically an advanced occlusion shader his effect becomes clear as we play with the strengths you that said strength 210 details to 100 ready stood 0.5 in readies map to 0.05 and tolerance to 0.1 those are the perfect values I found for this model and can be a nice starting point for any other situation I really like the way that their texture can successfully trace edges for this mesh let's change the light orientation again to create some nice lighting in camera mode let's choose a good view handle I'm going to add some out-of-focus effect that's not something often used for anime but it can really add some more depth to the character to do that all we need is changing the aperture of the camera a value of 45 was great in this case something I really love about octane is the control you have over every aspect of the final image through the camera E major and the post process options after activating the camera E major we get asses too many film presets in this case I'm choosing this profile which provides some good color correction and contrast I'm also raising up the gamma little beat to make the image brighter let's activate the obtained post-processing and set bloom and glare power to 10 we can play with the settings until we're satisfied with the final result the dirt procedural texture is one of the best ways to get some very nice tuned edge effect when dealing with geometric shapes with very sharp corners I've generated this mash using the buscador add-on let's turn on the octane preview the two material is set up already and the turn directional light is used if we try to use the outline thickness option that's not going to produce what we need since as we mentioned already is not ideal for flat surfaces let's set out line thickness back to zero and add a dirt procedural texture connected to the diffuse input in the tool material let's sets trying to ten details to 100 radius to 0.02 and we'll get some nice edges on the convex corners we can use the radius map as an additional way to control thickness a value of 0.3 looks fine to me inverting the normal will tres concave corners instead since we need to trace both let's duplicate the d'oeuvre ctrl note invert normal on the first one and add a multiply node after connecting the multi my note to the diffuse input in the Tudor procedural notes to the multiply note itself we'd get both convex and concave corners correctly traced the final result is definitely good and using this edge rendering technique in animation is really satisfying you now simply connecting the output of the multiplying node to the opacity and then adding an invert node we can make the whole mash totally transparent just keeping the edges visible let's detach the inverter of transparency and go back to full solid view and let's make the OpenGL overlay visible again let's add a 64 vertexes cylinder with a 0.5 radius let's scale the cylinder and move it so it's intersecting the main mesh you can see how the intersection between the cylinder and the mesh gets traced and we can turn off both camera and shadow visibility to totally hide the cinder we also have a Dervis ability control the let us decide if an object should participate or not that they're now defect we can now simply clone the cylinder multiple times and throw as many intersection as we're needed that's another very useful trick if we need to draw complex edges on a mesh we already know outline thickness can often create unwanted black spots we can decrease the thickness value through limit then effect but that's going to reduce the edge thickness for the old model as well let's increase the thickness value again I'll detach the two RAM texture and the third texture to better see the effect of outline thickness but their node is not useful to get property to its edges but we can use a pretty popular technique mostly used in video games called inverted hull so let's set out line thickness to zero and then create a copy of the mesh let's rename the copy as a Liam bust edges to simulate the inverted Hall effect we'll add a solidify modifier we can I'd the other mesh for now I would say the offset at zero and thickness to 0.05 this will expand the model along its normals also let's turn on flip normals we need to create an additional material slot and assign a new material we'll use for the edges I'm pressing T to replace the universal material with the tuned material let's make the diffuse black after adding a polygon sidenote let's connect it to the opacity input in the tool material you'll see no difference let's go back to the solidify modifier and change the material index offset to 1 so our edge material will be used for the solidified part of the mesh now the outline is visible and it looks really nice we need to solve an issue here as you can see the color is different than what we define initially it looks way darker that happens because of the inverted normals the only way to solve this is to turn off shadow visibility for the solidified mesh the color issue has been solved and now the model is not showing any self shadow let's take the model back to the origin using alt + G we now have two overlapping meshes and we're getting the outline edges from a model and self shadowing from the other we can now attach the dirt and ram notes again to get a final effect at unshaded model with perfect outline edges you setting the radius mapped at 0.5 will reduce the ash thickness we can also play with the thickness value in the solidify modifier to increase or decrease the outline ash thickness since I wanted to recreate the look in the sense of action of a typical anime I created this scene in octane for blender the design is definitely inspired to Makris one of my favorite Oh AV for this shot I've used octane post-process effects and depth of field which is unusual for this kind of style but I like the effect anyway still octane is able to play the scene in real time at a very high frame rate using just one Quattro RTX 5000 let's stop the playback and hide the two aircraft instances and the environment collection I've created an empty which is the parent of all the elements relative to the jet it's what I've used to animate aircraft let's hide all the parented items so we can examine them one by one we have the mesh with no edges applied used to get self shadows then we have the mesh with a solidify modifier apply to get inverted Hall effect that's the solidify modifier all set up as described previously so again the mesh on the Left shows 12 shadows while shadows are completely disabled on the other mesh this one is showing edges created using the solidify modifier and other techniques will describe later in this video we also have the jet hedges mesh showing in an additional way to create edges for the model this time using curves that select the mesh and press alt G to bring it to its initial position let's do the same for the other mash as well let's press 0 on the numeric pad switch to perspective view mode this will disable the octane path effects I have activated for the camera will use a technique involving grease pencil to create edges let's add a grease pencil blank item and press alt tab to go into draw mode be sure to be using surface mode so the strokes will follow the mesh geometry let's assign a material to grease pencil we can now start to draw strokes on the side of the aircraft model let's apply a grease pencil smooth modifier and let's increase the step value up to ten let's press alt tab again to go back into object mode so to be able to see the modifier effect now the edges look way smoother we can now apply the smooth modifier with a grease pencil item selected from the object menu let's select convert to choosing Bezier curve a new curve will be created let's rename it GP layer underscore edges now from the curve options in the geometry tab let's add some depth to the curve a value of zero point zero twelve works great in this case to get rid of the shadows projected by the curve we need to disable cast shadows from the object properties tab you let's press tab to go into edit mode when notice the curves are composed by a very high number of points from the curve menu let's select cleanup decimate curve we can now adjust the ratio decreasing the value decimate curve is using a smart algorithm which deletes points selectively trying to keep the shape of the original curve intact our curves are doing the same thickness right now let's see how we can control it we'll do it using another curve let's add a path curve and move it so we can actually see it let's select the previous curve and let's select the pet as taper object the edges will become barely visible now let's select the path curve and it tab to go into edit mode we can now move the points on the y-axis to define the thickness of each curve in the GP layers underscore edges curve the path length represents the length of each curve we're using to simulate our edges the start and end points of the path are controlling the start and end points of each curve in the other layer the Y position of each point will define the relative thickness of the edges we can add a mirror modifier to add the missing curves on the other side of the aircraft and of course we can always use the depth value as a global control for the curve thickness another method we can use to create tune edges is through vertex maps I created this very simple wing model and I'll be using vertex maps to draw some edges on it let's hit tab to go into edit mode and double click on the edge to select the edge loop we can add this edge to get a whole loop selected from the object data properties we can now add new vertex group we can rename it two edges and assign it to the current selection if we switch to weight paint mode we can see this sign group marked in red let's go back into preview mode let's add a float vertex texture node and added the name using the vertex group we created which is edges after connecting the node to the diffuse input we'll be able to see the effect of the vertex group since we want a black edge we need to invert the effect using an invert node that's not enough we need the edge to be sharp so let's add a gradient node let's change it from linear to constant now we can edit a gradient keyframes to control the edge thickness since we're using a gradient now we can get rid of the invar node and just invert the position of the keyframes in the gradient one thing we need to be aware of when using this method is that the thickness is influenced by the surrounding edge loops we can solve this pretty easily let's let the edge loop again and remove the edge vertex group [Music] let's eat control be to bevel the edge loop and also use the mouse wheel to add a subdivision now let's select the middle edge loop again and sign the vertex group in this case we need to adjust the position of this vertex so the distance from the surrounding edge loop is constant let's add another edge crossing the previous one I'm selecting the whole loop and applying a bevel just like before we can now select the middle edge loop and assign the vertex map we can see an artifact just where the two edges are crossing let's do two the way vertex maps work we can solve this easily let's undo the vertex map assignment and create a new vertex group named edges underscored 0 2 let's assign it to the selection we can now duplicate these two nodes and change the name from edges to edges under score 0 2 we'll be using a multiply node to merge the two vertex groups now we have two independent edge generated by two independent vertex groups we can of course add in the vertex maps to control where the edge should be drawn or not I'm selecting some points I want to remove from the vertex map you after selecting those let's click on remove in the virtus group panel I still have a segment left but I'll keep it for now let's select this edge loop and apply the bevel just like we did before then after selecting the middle edgeloop we can assign the vertex group let's also select this edge and assign the vertex group to connect the two edges I want to had a white stripe in the middle of the wing let's assign those two edge loops and apply the bevel then we can select the two middle edge loops and assign the vertex group we need to assign a new material to this poly loop I create a new material slot and assign the wing material then create a copy of it now we can simply change the colors in the gradient you I want this edge to be thicker so to measure the thickness of the others so I'll select this edge loop and double press G to slide it and then do the same for the other one I let the solidify modifier to simulate edges using the inverted Howell technique we already described we know the steps needed for these already first we had the solidify modifier with flip normals on and we specify offset and thickness values then we create a dedicated material for the edges with a polygon sine node connected to the opacity input we specify the correct material input offset so solidifies using the edges material finally we disable shadow visibility for the mesh as we add a modifier to the mesh we're losing the possibility to use the vertex maps which right now are not visible at all to solve this we need to add a vertex weight added modifier and specify the name of a vertex group let's say the subdivision modifier move it between the solidifying vertex weight added modifier using subdivision for return shaded mesh can definitely improve the final shading let's go into edit mode pressing tab and hit a to select all since we don't want to completely lose the sharp corners in our model we can change the mean crease value for all the edges to 0.9 let's rotate the light so we can take a look at the specular highlight as we can see the specular highlight is covering the edges we can solve this connecting the multiply texture node to the specular input in the tool material for both surfaces now the edges will always be visible to give a dynamic impact to the scene I created an animated background composed by several elements like kinetic lines and stylized clouds in the last part of this video who have described out these effects have been created let's start with a kinetic lyons effect I'll add a simple plane to the scene and assign a toon material that's done on the octane preview and add a noise texture attached to the diffuse input also let's select the lamp I click on these nodes to convert the sunlight into toon directional light let's add a 3d transform node and let's connect it to the transform input of the noise texture I'll change the scale value so we can get a very stretched texture only X and Z values really matter in this case now let's increase the contrast you decreasing the gamma will make some parts to disappear creating a more random effect let's make the plane bigger you I will add an invert note and connect noise to it and then I'll connect the inverno itself to the opacity of the two material so to make the background of the lines transparent you it's time to animate the effect to do that we'll be using the Z translation channel we can scale the texture so to get a pattern we like you let's be sure we're at frame 1 right click on the Z translation channel at the 3d transform node and insert a keyframe then let's move to frame 250 on the timeline we can now insert a new keyframe right-clicking on at Z translation channel of the 3d transform node I'm using a value of 500 meters of course bigger the number faster the texture movement will be let's right-click on the channel and select replace keyframe to store the new value the current animation is not linear to make it so we'll use the dog sheet let's click on the note the keyframes we created will be there with those selected all we need to do is pressing T while on the timeline and select linear we can now press the bar to check the result no celebration or deceleration just a constant speed we can create satellites clouds started from this setup we just created first let's work on the scale values in a 3d transform node I'll change X to ten and Z to 350 I'll duplicate the invert node and use it to invert the texture in the diffuse node from the word nodal editor let's add a texture environment node connected to the octane environment input in the world output node I'll change the color to a light blue to simulate the sky we can play with the noise options in real-time while the animation is playing to get different effects we can change the Omega the number of octaves or the gamma you we can also duplicate the object and create a copy of the material to add some depth to the effect I'll change the color to orange using a tone Ram we can also edit the scale value to add even more variation to the final effect in this video we went through some of the powerful tools in octane for blender I've been using to create this anime style scene GPU render and NPR are a magnificent couple for sure the octane render engine is extremely responsive on the Quadro r-tx 5000 i've used to record this video which makes experimenting with the various settings a very fast and pleasing process I hope you enjoyed this tutorial and found it useful you

Channel: NVIDIA Studio

Views: 70,948

Keywords: NVIDIA, NVIDIA Studio, RTX Studio, NVIDIA Creators, NVIDIA Design, octanerender, octane render, octane, blender, b3d

Id: HUHF2KWAyQQ

Length: 34min 24sec (2064 seconds)

Published: Tue Apr 28 2020