Arnold Toon Shader Series | Part 2 | Customizing the shader.

okay so for next thing I brought our scene back to just be just a basic tune shader with some contour edges applied to it and then I have adjusted to ankle threshold to bring in like all those nice contour edges and stuff so the next thing I want to show you guys is using like shadow mats and the utility shaders soft like that to really start to customize our toon shader so to start out that let's go and actually like click close all these and let's go into our base and let's drop our base down to zero so we get rid of all our lighting information here and then what we want to do next let's go and grab a shadow matte and drag that into our scene and what we can do actually with all these nodes and stuff is you can plug them into like the material output here and oh like sort of override your scene with just a chain that you have selected so you can really isolate the things you want and sort of refine these to get the look you want for them so by default everything will be completely black so we'll have to change some things to get everything to show up properly in our background drop-down let's change it to background color and you can see now we're starting to get our cast shadows bar we're not getting sort of the self shadows on our objects so there's one more thing we have to do for those let's go into our diffuse Channel and that's increase our back lighting up just one notch for some reason you have to do that I'm not sure why but you can see now we're starting to immediately get our selfless shadows back into our scene one thing to note is it's so clamped that the very fine stepping on like your objects you can start to see the stepping for those so to smooth that out what we can do let's grab our sphere right click it go to the cinema 4d tags and grab an Arnold parameter tag and in here what we can do is go to our subdivision tab and change our type to cat Clark and you can see now it'll start to like refine that edge because it's subdividing a little bit more and you can start to increase that to sort of clean up that edge if you want it if you're having troubles with like a certain object so now we're getting like a nice clean edge along our sphere but for the sake of this demo I'm not too worried about that so I'll just keep it at one fair now just to clean up a bit but to have performance that I need to show you guys this tutorial and then that's all we really need from here to create our art little shadow mat and what we could do with this now is we can use this as a mask to create unique colors and stuff for our shadows as well as being able to use the shadow mat to actually apply contour edges to our cast shadows and everything so now that we have our shadow mat set up let's plug our tune straighter back into our material output and so to connect this into our toon shader let's use a ramp node and drag that into our scene and let's plug this into the input of that so by default I just actually plug this into our admission color and by default nothing will have changes because it's taken this black and white information from our shadow mat and changing that into black and white information so to customize that let's grab our white note here and let's make like a nice sort of highlight color or whatever and now let's take our black node and we can change that and you can see now we're starting to be able to have the ability to really customize our shadows for our scene and to be able to like make them their own unique color and everything so this combined with like your tone mapping and everything you can start to really create some unique shaders and stuff so the next thing we can do with the shadow matte is we can use it to outline our our shadow edges so to do that let's actually just drag and drop our output into our edge detection mask color and you see once we're finds now we're starting to get those edges along our our shadows and I find this can like create some really cool looks and effects and I wish I had known that at the time for making this and you can see how I have like the shadowed edges sort of outlined I at first I'd had actually done that in post and Photoshop using a shadow pass to create that line so using like 2-stroke filter but I had recently found to I to create those with this which is just like having them in your scene and ready to go it is so much faster for production-wise okay so say you want to mix your shadow mat with your great belly texture and have them both show up in your edge detection so to do that let's type in mix and let's grab our mix rgba node and that's plug those into input 1 and plug this one in to input 2 and then let's plug our mix node into our main edge at our mask color and you see now we're getting our shadowed edge as well as all our edge detection from our gray belly texture right now all the edges are pretty harsh so what I can do is go into our width scale and bring that down a little bit just so they're not so thick there we go sweet so now we're getting a combination of both the shadowed edges as well as our texture edges so next let's look at bringing in our C for D noise and blending it into our material so you type in C for D into search field and let's drag in our noise node let's use it to replace our mat our shadow mat and you see it by default it's just like the default noise let's change it to something a little bit more unique and what I like to use to see for D noise is sort of like clamping it down and using that as a mask to create sort of like little bits of grime in your scene and you can see here how that takes effect like so this little grimy areas or I created using a very contrasted c4d noise and then we use that as a mask to mask in just a little bit of like a darker color or whatever you want to use it for and we blend that into our emission node and you can see how it's sort of starting to create like a little grimy field and then what I also did in the scene is grabbed another C for D noise I think using like the pox oh one or something but I've made it at a super small scale and you can see how it's creating like these little tiny like specks and that just helps create some like a little bit more of wear and tear feel to your scene so to do that I changed my to blister turbulence we'll see if this one gets us where to where we want you see when you clamp it down you can start to get those hard edges let's start to increase our low clip and you can see now we're starting to get like these little like grimy islands and stuff in your scene right now they're a little bit too there's a little bit too much so what we can do let's increase our global scale I stopped mind by a thousand we can always refine that and stuff later on and right now our islands are starting to look a little bit too smooth and it wanted to be a little bit more a little bit more variance in the line so what we can do is go to our octaves and let's double that for now you can see now we're starting to get a little bit more variation in our turbulence let's adjust our low clip a bit here there you know we're starting to get bring in a little bit more in Torcy so now let's use this as mask and be able to use that to blend in with our main colors so let's actually bring our shadow mat and plug it back into there so we're left with our sort of default scene that we have going on and those blend in our c40 noise into our main colors using multiply node let's plug this into input 1 and let's plug our colors into input 2 by then let's plug this into our color emission channel and by default it'll just be like it's overlaying the black on top of everything so we want to clamp this down to be like light grays and stuff we can change it in here as well but I find that I just like to connect a wrap node in between it I find it's just easier to adjust your properties faster rather than going into here and then like selecting these and then yeah it's just I just find this way easier to use a ramp node because then you if you depending on your contrast for it you can adjust them you have a little bit more flexibility with your shader this way so let's grab our black node here and let's start to bring that way up so right now we're getting lighter spots and a darker main area so we can do is right-click our wrap here an invert gradient that'll swap all the points on the gradient and you can see now we're starting to get our sort of like grease stains on our shader one thing to note that the noise our c4d noise as applied on UV based so right now I have my shader set to cubic so it's just um evenly distributing it along all my surfaces and I a cubic fashion so next let's actually use this to outline our grime as well so it works the same way as how we you did our shadow matte is we can just plug this into our edge detection mask color and you can see now we're getting our edge detection on on all our little grimy bits here so we can do now let's blend these two actually together using the mixed note that we used before let's remove that guy and replace it with our C for D noise and now let's plug this into our mask color and you'll see now we'll start to get our edge detection on both our shadows and our little grimy bits so next let's start to introduce those little tiny speckle e sort of just like wear and tear feel to art material so for that let's let's drag in a new C for D noise or so it's nice and default and let's change that to let's change it to POC so for now and that's actually let's sometimes these actually shrink let's grab our output and let's isolate this into our scene just so we're getting and over a feel of how it's affecting your scene let's clamp the contrast on that you can see now we're starting to get like little grimy spots what you could if you want those to be even smaller let's go to our global scale let's reduce that by 10 times for now let's see how that's starting to look so this is looking about like the size I want for them but the distribution is very even across our scene so we can do now is actually use another c4d noise to mask out where we want these to show up on our material so let's let's actually grab our our grimy noise or scram you see 40 noise that we created earlier let's copy paste at just because we know that's a good starting point and let's blend those together with multiply so let's plug that to input 1 let's plug this into input 2 and then let's plug our multiplied node into our material output here and you can see now we're starting to get little grimy areas across our scene but we don't really want those things to be just isolated to our sort of like our grimy spots so we can do now is let's take our c4d sort of like island noise and let's change the seed on those a little bit and you can see that just randomly just to randomly distributes the blistered turbulence noise on your scene and a chain sort of changes to store the algorithm for it base the seed so right now I think my islands are a little bit too big so let's drop this back down to like 200% and see how that feels there now we're starting to get both the island size I want to have but some of them are a little bit too big so we can do is let's grab our low clip plane and let's start to bring that back up a little bit just so we're getting like little hits of the grime eNOS here and there so next now that we have ours our core sort of grime eNOS set up let's connect that into our tuned shader so for the most part I like using the edge detection part to like plug this into so let's do that so let's actually grab another mix node and let's plug this into there and plug this into there to input 1 and 2 and then let's plug this into our edge detection and you can see now we're starting to get those speckle II that speckle II noises on our scene it starts to just give it a more of a natural like grimy lived in feel depending on like the sort of the scene you're doing but yeah I like the way it sort of like feels when it's like in your scene like that

Channel: calder moore

Views: 23,513

Keywords: c4d, cinema 4d, arnold, c4dtoa, toon, shader, cel shading, tutorial, how to, edge detection, line art

Id: 1rxFULM5spg

Length: 18min 45sec (1125 seconds)

Published: Fri May 10 2019