Arnold for Cinema 4D: Curvature Map

today's video is all about the Arnold curvature map let's go what's up everybody this is chat Ashley from grace guerrilla where we give you the tools training and tutorials you need to take yourself to the next level in motion design today's video we're going to talk all about the Arnold curvature map the Arnold curvature map is one of my favorite maps it allows you to kind of create that wear and tear along edges and kind of that dirt gathering in cracks look it's super powerful technique we're going to learn all about it today let's get started okay so here we are in cinema we have a really kind of unique looking cube here lots of convex and concave shapes and we're going to talk about the Arnold curvature map the Arnold curvature map is one of my favorite Maps really versatile it's great for creating wear and tear edges or ceramics or any any sort of thing where stuff gathers and corners or gets worn away on edges so here we have the shape that's really going to help us show that off I'm going to create a Arnold surface standard material and I'm going to assign it to our cube I'm going to open up that shader and I'm going to grab a curvature map just by typing in my search here so you are and already it just kind of finishes it up for me put the curvature map into the beauty output and look at that we've got awesome curvature happening right here we're in output mode of convex which means that it's going to output white on convex shapes and then it's going to kind of fall off to black wherever it gets concave we have a different mode we have concave as well so is the exact opposite of that which is going to give you white in the crevices and black on under sort of flat surfaces and then we have both which is a really cool way to kind of handle this what it does is it gives you both in at the same time but it's putting red into the convex and green into the concave so that you could pull a mat out of one of these if you wanted to in fact I could just look at the red channel here look at the green Channel here and then of course there's nothing in the blue and go back to RGB so this is kind of getting to curvature map types out of one app which is really cool so let's talk about a few of the other settings I'm just going to go back into convex here so samples what does that mean well that means how many rays are we going to be shooting at this thing to really see the detail and how many little areas and nooks and crannies that it could return a convex or concave value so if I up this on this object it's really not going to do much because it's just a bunch of flat boxes right now if this were a more detailed object you would see that more samples is going to give you more detail so I'll just bring this back down to like five so if we increase the radius what that's going to do is it's going to increase the radius of each little ray that's going to kind of bleed out and say okay I'm going to look a little bit further away from 0.1 or 0.01 I'm looking at point two one right now and then if I if I kind of make this like somewhere in here like point one seven and then I bring that spread down you can sort of see that starts to erode that that down a little bit it kind of clamps it a little bit looks a little weird though it's not really I don't really mess with the spread too much we should that back to default and then threshold of course is just going to kind of increase or decrease the threshold of what it considers to be convex or concave and the bias is going to kind of swing it one way or the other and in terms of convex or concave am are on the multiply effect is kind of cool because what that's going to do is it's going to basically just do exactly what you think it would do just make it stronger so it's going to take the effect that it's got right now and make it more contrasting let's bring this back to default and let's bring the samples back to like a three and we'll just actual just reset all these back to default and there we go and then we've got a tray set which I don't really use I think it's for creating really specific areas of an object that you want to use this effect on or maybe even just a specific rate or a set I think it explains it in the manual I haven't actually used that setting self only is usually the only other one that I'll have on just so that it doesn't actually affect other objects near it so it's only going to be kind of affecting this one object so that's kind of it in a nutshell so what is it good for I use it all the time for creating wear and tear shaders and then I also use it to create any sort of objects or materials that that have some sort of gathering in nooks and crannies ceramic is a good example so today I'm going to show you how to create a wear and tear texture our shader in Arnold and then also a really cool method for creating ceramics so let's jump in okay so here we are in cinema we've got a really nice high quality high detail skull model that is one of my favorite models to mess around with we've got an Arnold Sky providing the light and the reflection using one of the GSG HDI collections paradise images so let's build a ceramic shader so I've got a shader already applied to the skull and it's just a standard white kind of shader that you know you just click on it creates it for you so let's start messing around with the curvature let's grab a curvature map and real quick it you know in the intro I'd mentioned the trace set I did look that up and actually a friend of mine Trevor told me exactly what this does it's basically if you want to have different sets of objects basically appear like they're part of the same set so in subsurface if you have two separate objects but they interpenetrate at some point you want them to feel like they're part of the same volume they would be part of that same trace set so the same goes for curvature map as well so thanks Internet and Trevor for that one so let's just take a look at this curvature map and see what we got here we're going to have to throw some more samples on this convex I think probably somewhere in the ten range maybe twelve would probably be fine we probably need to also decrease the radius quite a bit in fact I'm going to bring it down to like a point O three somewhere in that range and this is all just going to be for the edges where the enamel kind of pools off and you see some of that white ceramic shader will pop through all right so that one's kind of set pull it off to the side here I'm going to hit ctrl and drag down and now I'm going to create my con K version which I'm just going to look at the output of that and for this one I'm just going to increase the radius just a little bit point o4 I think probably get me where I need to be on that so with these two set I'm going to then create a ramp so I'm going to create a ramp oh but before I do that these curvature maps are linear and the ramp is going to expect an RGB and srgb gama so we're going to have to grab a linearize and change their color space a little bit or change their their gamma rather I'm going to say input and I'm going to set this to gamma and I'm gonna set this to 0.45 for oops 0.45 for and let's look at that okay I'm going to do the same thing just duplicate this guy out put him into that one now these are ready to go into cut into two different ramps so let's grab a ramp and let's put it right here and I'm going to drag the output of that linearize into the input of this ramp and then the that ramp is just going to go right out to my viewport so now I can throw some colors in here I can say well I want to create like a green ceramic skull so I'm going to put like this green material where it's kind of light and then down here I'm going to say I want it to be a little bit more saturated something in here let's say maybe a little less something like that cool so this is going to be part of my diffuse map and now I'm just going to drag this out again and what's cool about this putting in at a ramp is I can actually start to clamp this out or add another color in fact I might add like a slightly less saturated version of that so it gets even a little bit more whiter on the tip of that nose that's kind of cool and then maybe a darker green here you can really start to have some fun with it that's pretty cool actually I'm kind of digging that this might actually be exactly what I'm looking for in terms of the look of it I was going to split it out into two different looks and just try to try to get something where I liked it there but I'm kind of digging this I'm like having this control right here I can kind of clamp out those darks in fact I can make them a little bit less dark if I want and something create something like this okay so that's looking good in fact I'm going to say it's so good that I'm going to abandon this second output I was going to make down here okay so let's throw this into the diffuse color and now we're going to look at the output of that and instantly we're already getting a pretty cool look here I think it's probably a bit too contrast II for my taste but we can fix that in a second let's bring some spec into it so let's bring the spec up to I don't know a point eight five let's go higher let's go 0.9 why not shinier the better roughness of about point one something in that range maybe 0.12 and now we need to turn on for now and when I turn on for nelle I'm going to come down to my refraction tab and actually turn on for and I'll use IOR so it's a little bit more physically accurate so I'm going to do like a one point six on this so it's a little shinier so now we've got some shiny ceramic going on but I think it's just the color isn't quite there yet I think it's too much of that highlight colors coming in so I'm just going to start to move this down and make this effect a bit more subtle yeah I'm liking that you can see in here and we kind of zoom in over on this on the temple here you get the nice dark colors kind of pooling into these little crevices crevices whatever you want to call them so yeah so this is looking really good I'm not sure I would do much too much more to it I might add like some imperfections maybe some scratches or whatnot but yeah this looking really good it's really a really simple way to create a ceramic shader so let's now talk about how to create some grunge and some imperfections on the edges and where tear kind of looks so let's try that okay so here we are we've got this cool Nikon moly they've seen this image pop up in the GSG daily render Instagram blog it's this beat-up camera that I made here in Arnold and you can kind of see just like the crazy detail let me let this go ahead and finish you can see the crazy detail we've got going on with this shader and it's pretty it's not super complicated actually in fact it's um it's pretty self-explanatory on how it was built I'm going to run you through the shader and dissect it a bit and then we're going to make our own really quickly it won't be quite this detailed but let's just walk our way back through this we have a bump map here that's leading into a mix which is I'm just going to look at that output of this mix material two different materials coming out it's actually mixing in the metal material which is this kind of dirty metallic surface which in itself already has some grunge and D in dirt and stuff and then it's also mixing into this red paint which has a little bit of bump and a little bit of that like it maybe it's been painted a few layers a few times over the years let's kind of zoom out a little bit so you can see a little bit more of this so yeah those are the two different materials that the the curvature map is mixing into so what does that look like what does that mat it's mixing well it's it's this this is the mat that's that's being generated from the curvature Maps to mix between those two different materials if we walk backwards from that this is just a color correct where I've boosted the multiply and lowered the gamma just a little bit to get a little bit more contrast out of it what I like to do with these maps is use the curvature map and then put something into the radius of that curvature map so look at the output of this curvature map before we color correct it it looks like this and before the color before the curvature map at all the clamp node looks like this so I'm mixing in all of these different scratches and grunge's and whatnot and then I'm piping them into the radius of my curvature map now my curvature map if I unplug the radius and I look at this you're going to see this is a radius that I liked it had a pretty wide radius I think it's yeah 0.1 it says right here so if you look at my clamp node that I put in here I made sure that my min was going to be a minimum of 0.001 and my maximum was going to be one so I'm going to get anywhere in this texture where it's white it's going to be a maximum of one and the minimum of 0.001 so if I bring this back into if I look at this clamp you know this is what it looks like if I pipe it into this curvature map into the radius attribute and look at that you can see if I start to mess around with this clamp I'm going to start to clamp down the radius so now I'm clamping down the entire thing tightening it up but it doesn't look that cool so what I did is I kind of left it out at 1 to kind of give it a more broad radius make it look like it's been beat up a lot if you don't want to make it look like it's been beat up hardly at all you could kind of start to clamp these numbers down and maybe even bring it down like point o 9 you could go a lot lower only 0.02 and now we've really clamped it down so that radius is now really really tight and we can see what the output of that looks like let's go to the very end of our shading Network it's a different vibe it's it's it's maybe not quite been tossed around as much where it's just kind of worn away at the very edge of the object which is kind of cool if that's what you want or you could have a very low min and then like a very high Max and now it looks like this this edge has been dragged around quite a bit and it's kind of worn away so let's build one of our own really really quickly here I'm not going to redo these these shaders the paint and the metallic shader I'm just going to redo the the curvature part so you can see here all of curvature maps if you look back behind this color layer here I've got three grunge maps piped into this thing one two and three oops did not mean to do that and when I hit there so this is the third one there we go so I'm going to just peel these off just copy these off and I'm just hitting ctrl and I'm still going to use these guys but I'm going to walk you through the process of how I got them to combine into this curvature map alright so the next thing I did was I grabbed a layer texture and let's grab that layer and we're going to put you know we'll do a little bit differently than I did this one I'm just going to kind of arbitrarily pick which ones they go into one and we'll put this one in two and then we'll put this one into three if I can ever get myself to select it and let's do them in a little bit sometimes these nodes are hard to select and there we go okay so let's look at the output of that and start to turn on the alphas of these to kind of mix everything up so it looks like this one is kind of like our big our big one I'm going to set that one to additive mode and maybe bring him up a little bit and I'll set this one to additive mode as well so that we get a little bit more of those crustier scratches which I kind of dig this one I might bring down a little bit so this one will be little bit more prominent scratches in fact I'm going to add this first one twice to get a little bit even more out of it I put it in layer four bring its opacity up and get a lot of these scratches going cool so that's that's what I want to drive my radius so I'm going to grab next I'm going to grab a range because I'm going to tell it what range do I want to consider black and white and the luminance of this output so right now it's zero one so I want to change that to maybe 0.02 - maybe 0.9 and let that become what drives our curvature map which are going to grab next so grab our curvature map and put this into the radius and let's look at the output of that and I think we need more details let's do like a 15 in our details and let's I think we probably want to do want to do definitely want to do convex going on adding dirt we're just adding the grunge forget what I had over in this one I think it was we didn't have quite as many details so maybe I'll lower the details and I'll increase the multiply cool now this is going to be really really grungy so now that we've got that set up I'm going to bring it into the mix of our original shader and we're going to look at the output of that and you can see because I changed the way the grunge maps were being affecting with my my output here it's a little bit different than where we were before and I can get a little bit different result if I start to bring this texture back into the mix and start to bring this one down adds like a slightly different effect a little bit more of a paint chip away kind of a look and then of course the curvature map if I change my output maybe 0.05 to 0.09 that gives us an even different look we can really see it right here and then I might like I think what I did here is I piped it into this color correction which was then pretty useful for I think I brought the gamma down in the exposure up so let's see what that looks like it's going to kind of make a little bit more contrasting and we'll pipe this back into that mix and we'll look at this output and there's a different kind of vibe the on the crustiness of our our nikon I kind of like what it's doing to this lens looks pretty interesting how its revealing that the metallic surface down there yeah so that is how you can use curvature maps to generate these kind of wear and tear along the edges of your models without having to do a whole lot of you ving in fact if we look back the only real you ving that's happening of the texture are these these texture maps here and you can tell the model itself is actually just I think a cubic so if we change this to let's say I think these are all just using a cubic yeah yeah just a cubic so these the UVs on this on this model aren't really even properly laid out but the that you know the curvature map is able to doesn't really care about you bees it's only caring about the surface normals and and how many samples you throw at it so yeah it's really useful for this sort of thing the last thing we're going to talk about is a trick to use the curvature map to do that rounded edge effect so let's jump into that okay so the last trick I'm going to show you with the curvature map there's a lot of uses for it I'm of course not covering everything there is to know about it but you can kind of do one of those fake rounded edges rounded edge effects that some shaders have octane has it metal ray has it if you wanted to and you know we don't have it here in the main standard Arnold shader so but you can create one with a curvature map pretty easily so I've got this extruded box thing and I created a curvature map that basically kind of clamps on the convex edges of this shape and what that's going to do is that's going to drive a mix node to put in anywhere where it's concave that's going to put gray and anywhere it's convex it's going to put black and this is going to be a bump map so it's essentially going to push the normals down on these edges and it's kind of got this little fall-off so it's going to kind of create that that rounded edge effect that you get with those other kinds of shaders so let's look at the output without any of that effect on and let it kind of finish drawing here and now I'm going to turn the effect on and you'll see you kind of get these nice little beveled edges without having to do any modeling and then the same thing goes with doing it with concave you can actually kind of make it if you made another one maybe added it to this one you could make the whole thing feel like you know anywhere that it's it's concave this these two surfaces are kind of blending together so it's kind of a cool effect to use in a bump I wouldn't recommend it getting really close to the model looking at this because it is a fake effect so if I get really close the effect will kind of fall apart a little bit but if you're staying pretty far away from stuff and you don't really want to take the time to bevel all these edges this is kind of an easy way to do that so anyway so that's just a little taste of you know the some of the stuff that we're going to start covering with Arnold and we're going to start doing other things with octane and other tutorials covering these different renders so if you have anything specific that you would like me to cover in a future tutorial hit me up in the comments if there's something that maybe I went too fast on or you want more clarification on hit me up in the comments but yeah we'll we'll see you next time what's up guys welcome back thanks for watching make sure you hit subscribe if you like what you see or stick around and watch some of the other videos that we got going we're putting out a lot of great content this next couple months so you're going to want to watch them all thanks a lot I'll see you next time so I'm hard at work and this guy just sits there sleeps all day

Channel: Greyscalegorilla

Views: 47,412

Keywords: cinema 4d, c4d, tuts, tutorials, greyscalegorilla, cinema 4D tutorials, Cinema 4D, c4dtoa, arnold renderer, arnold for cinema 4d, arnold c4d, arnold curvature, arnold curvature map, arnold edge texture, cinema 4d arnold, curvature texture, curvature technique, arnold tutorial, c4dtoa tutorial, cinema 4d arnold tutorial, arnold features, arnold wear and tear, cinema 4d rendering, c4d arnold, arnold renderer cinema 4d, arnold tutorial c4d, c4d arnold tutorial

Id: NwLmi-Btr-Y

Length: 23min 45sec (1425 seconds)

Published: Tue Aug 30 2016