Blender Hamburger [FULL COURSE]

so yes this is a two hour burger tutorial which seems excessive but i made sure that this is the most detailed hamburger tutorial that will ever exist in this tutorial series that i've compressed into a single video you are going to learn how to make the buns procedurally using geometry nodes you're going to learn how to make the patty using procedural materials using cloth simulation to drape cheese over it we're going to be talking about how to give a two-dimensional image with an alpha channel thickness and then distort it for the bake and the lettuce stuff like this we're also going to be making uh tomatoes of course and the point is this hamburger i didn't just make using simple like project from view for this whole thing no uh i used a lot of new techniques you're gonna learn about volumetrics geometry nodes i've already mentioned so i've taken all parts from you know that i've already uploaded i've cut out the outros because you know there's no need for them i've put them back for back back to back for your viewing pleasure so i just before we start i just want to ask one thing uh if you enjoy these tutorials and you want to get not only the blend file but exclusive perks like like this that patreon exists uh but other than that i i think that's the only promo i'll do enjoy the two hour hamburger tutorial and i'll see you on the other end you know wise man once told me actually stop me on the street just to say this i thought it was weird at the time but what he told me is that the best hamburger always begins with the bun and i've been carrying that with me all this time and i think it's about time that i let that information loose and give it to somebody else so we're gonna be making a hamburger in like a three or four part series and part one is gonna be making the buns uh but the twist uh with this one is we're gonna be using geometry notes i want this to be entirely procedural uh specifically for placing the sesame seeds so with blender open i wanna make sure that you have you need to make sure really that you have 2.93 or 2.92 and above because geometry nodes does not exist in earlier versions so make sure you're up to date and other than that make sure you get a reference image here's the hamburger we're gonna be using i don't know if this is a wendy's a mcdonald's a burger king burger all i know is that it looks very good and we're gonna be using it for reference okay so bunch of layers bunch of stuff to do don't have time to waste let's make the buns okay so the first part in any process is just obliterating the default scene let's just get rid of it and we're going to go to the side view and let's import in some reference i'm just going to use this hamburger boop you can literally just drag and drop i don't know if it's new i don't know if it's old but it's a thing okay and pretty much for all of this we're going to be using the reference image just to model everything to scale at least proportionate to each other okay so we have our image let's model the bun to do this shift a we're going to do a cylinder y cylinder because this thing is rotationally symmetric right it's almost as if this thing's kind of a distorted cylinder already and if we have a side view of this then we can easily kind of make it using only that information okay so with the cylinder edit mode wireframe just so we can see the whole thing and actually select all these vertices otherwise it's not going to work with this thing first of all let's position it kind of in the right spot edit mode and i'm going to take these top vertices and bring them down so they are the correct height okay so i'm moving on the z-axis which moves like all of this uh the entire ring together is a good way to think about it okay um okay we have our cylinder placed next i want to start like scaling these rings so they're roughly the right size we can add in more rings by control r they're called loop cuts but i'm calling them rings like a a sonic type character you you know i don't know how much you guys know about the furry i i know this is a bit of a tangent i don't know and before i get into the story i'm just going to be adding loop cuts and scaling that's why it's not important um either way i don't know how far down you've got you guys have gone down the furry rabbit hole but uh one one thing you'll find surprising is that 90 95 of it is all like sonic based i don't know if it's just like oh sonic's like the place to be or if that was just the origin of the fetish but that that might just be by the way i'm going to be doing a sponsored thing at the end of this at the end of the series hopefully they don't mind you know i'm just trying to pass the time i'm trying to keep it pc i'm trying to keep the pc um either way you'll find it surprising how much how much of it is sonic and knuckle-based you won't expect them to be there but whatever okay uh we have a bun uh it kind of looks kind of looks bad but what we can do is we can take this add in a subdivision surface modifier and now we have a smooth button of course we're going to get some pull issues you're going to see this triangle fan right this weird shading we can either like smooth that out or what's even better you know we want to add in some geometry okay so we're going to go to edit mode we're going to take this and we can inset it and you can see this is just going to take the issue and kind of inset or offset the um where we see it the visibility of it to the sender so we're just kind of taking this and moving the problem away okay so what i want you to do inset just pretty far in and we're also going to add in a bit more geometry uh by the way the reason we're doing this is i'm thinking i want more than just the sesame seeds to be procedural i also want to be able to control the shape of the bun procedurally right it's not going to be just this perfect like cylindrical thing i wanted to have distortion and stuff so we're going to do displacement so you know add in some geometry either way that was just surprising to me moving on uh take this shade smooth we're going to apply a displace modifier important thing about the displaced modifier it is in in order right um it is after the subdivision surface right these are going to give different results once we actually use a texture okay so first we add in geometry then we displace um how are we going to do it we're going to do with the texture so again you just hit new which texture we're gonna load in the one we just created we can use clouds and that's just like a base uh i don't know procedural so it's a generated noise that comes with blender okay a couple settings size you want to bring it up this is just kind of like the scale of the distortion if you kind of look at the size of this image we want there to be very little detail so it actually is big uh low frequency kind of stuff it basically i'm trying to smooth it out okay so bring the size up to a big number the depth you want to keep below because this is kind of like the it's kind of like these steps of detail almost if you want to think about it so either keep it at one or two one is for very smooth two adds in a bit of bumpiness now you take this you take the strength we're gonna set it to zero so it's not there and then we're gonna gradually just add a bit and you can see uh what does this do it just adds in a bit of displacement kind of looks like you're pushing play-doh down so it's almost satisfying this might be an interesting way to go making some stop-motion clay stuff okay either way we have the first bun uh we're gonna be messing with this one again in a bit once we're adding the sesame seeds i'm just gonna save out the scene but first we need to make the bottom bun and as far as i understand i don't know why i need reference for this right but in my head the bottom bun doesn't have any sesame seeds i really do not know for sure um but i guess i should look at reference to see if that's the case i don't really know scale shift z to scale on everything except the z axis so it looks like that right shift z that's just a good way to scale um what was the point the point is that my cylinders gone what did i do uh the point is i don't know if this bottom bun is supposed to have sesame seeds i'm just not gonna add it in for this one so this buns just for show right we're going to do all the complex node stuff up here same process as last time just add in some loop cuts with that loop cut you want to scale into where it should be also do this with the bottom row and stuff like that the more detail you add the better but it's not too big of a deal because at the end we're again going to add in a subdivision surface and by the way other than the insetting trick let's go to solid view so let's do a bit of the insetting trick just add in some more geometry and we can also do that on the bottom so i know this part's just modeling it's boring i mean there's some blender channels entirely based off of modeling they seem to do fine but whatever i find it boring um a trick other than the insetting if you want this to be kind of a sharp edge with lesser rounding after you had the subdivision surface so this is without right it has this crisp edge but when we add in the subsurf where did it go the subsurf we get a lot of curvature you can add in a loop cut and just bring it very close and that's going to add in uh some tightness on that corner just a thing uh shade smooth whatever i mean yeah there's a bunch of the modeling only channels josh gambrell whatever they seem to do fine for this displacement i think we can actually use the same texture but for the strength we want it to be its own custom value something like that okay um so at this point we've modeled buns you know i'm sure i'm gonna click bait the out of this video i don't know what i'm gonna call it like lots of buns some kind of innuendo we've modeled the bun actually let me just add in a bit of crispness as i was just talking about to this edge right just so it's a bit more intense we've modeled the buns we can control this procedurally right we can control the displacement to this one and the other one like on their own and we can add in more geometry um just by adding in a higher level of subsurf that's just a thing we can do but at this point we want to be adding in the seeds and this is where it gets a very new so with the top bun we are going to do geometry nodes how well first of all you add in a geometry nodes modifier okay as far as i understand it without this modifier you cannot um whatever no tree you create it will not do anything to the object okay so after all this right in the modifier stack we're then going to apply geometry nodes then for what geometry nodes are we going to be using you go to the geometry node editor just like the shader editor or anything like that or composite or anything that has nodes right you shift a to find the nodes i'm assuming you haven't touched geometry nodes at this point so i'm just going to do a bit of a crash course shift a to search and um this is like this tree is going to be linked to this i think we should be able to rename this to like burger or something like this and then you can see like updates here okay uh so whatever node stuff we do here i want you to think of this as we're basically making a custom modifier this is the idea is the idea okay um so what do we want this modifier to do well in essence we wanted to take an object like a sesame seed which we're gonna model and i wanted to scatter it in a very specific way now good question while i make the sesame seed i talk about both of them at the same time a good question here is why do i not just like model the sesame seed and then instead of doing all this like geometry node stuff why don't i just do it with particles well first of all uh wouldn't get as many views that's one thing but um mainly geometry nodes even with scattering like this simple thing gives us much more control so i'm just gonna first of all let's smooth this out kind of same process as before we can also solidify although this time you want it to be in the other order so i'm taking the mesh i'm adding some thickness with solidify and then i'm smoothing with this back on topic uh geometry nodes actually gives us some scattering options that uh particles do not and we can control a lot of stuff and specifically i'm gonna be solving the issue that uh even blunder guru can't where the sesame seeds should not intersect right when you scatter with particles it's usually an issue where some particles are going to be overlapping when we're instancing the objects this has a way to get around that and i'm actually kind of excited to show it because it's kind of a big deal okay anyways i've rambled enough uh trying not to stutter while making uh the sesame seed and now we can take this and scatter it using that idea that i was just talking about we can do it without intersection or overlapping okay to do this we take our model that has the modifier that has the note tree we say what do we want shift a well it's probably going to be something with points because we want to scatter points and then instant stuff over them um and then we're going to go to points point distribute you could either do it like this or you could just uh you know search point distribute once you know the name you just connect it here okay so we've taken this geometry input we're basically sending it through a point distribution and then sending it out um right now it's going to get rid of the mesh but we do have the points and we can control the density and stuff like this whatever i want first of all to clone or instance the sesame seed on every single point and then i want to get my burger back which we need to click through the outliner i guess by the way probably a good time to rename things so i'm just going to call this a top voyage and i'm going to call this one bottom voyga and then this plane is going to be our sesame seed and as far as i know uh having modifiers on the sesame seed the thing we're instancing not a big deal okay so top boy you distribute the points and then what do we want to do well let's actually just do it through the menu point not distribute but instance okay so we've distributed our points and now for each point we are going to instance we are going to send a copy of this object okay and you can see it's kind of doing what we want although the sesame seeds are huge and we're still you probably can't see it but we still don't have the base mesh under there one way to fix this is you can literally take this geometry and scale it down however we are dealing with nodes which means we do have a lot of control um so instead of that let's do something like a point scale i think is the way to go so we take point scale so first we distribute the points then we're going to modify their size and then we're going to copy a sesame seed on every one of these so if i take the point scale go to vector in other words i can control each of these numbers well we then have a controller for this right and we can scale only on the x-axis y-axis z-axis whatever um so i'm just going to make them really small like .1 or even like .05 for now and we can change that later okay um one thing i want you to notice is if you imagine the hamburger bun here these sesame seeds spawn in kind of normal flush with the surface like they're not jutting outwards they're as if they were like a surfer on the waves it's a parallel or normal to the surface it's not normal the opposite of normal it's it's gliding with the surface okay so you can see this one's pointing up and they're basically outlining the mesh okay that's going to be important in a bit but either way we've scaled them we've instanced them and now let's bring back our original geometry and there's a node for this it's called join geometry basically takes two or three or however many meshes i think that's why it has this like weird input which is kind of cool i think this is a redesign that was done recently now basically what this does is it takes an arbitrary number of meshes or maybe just two i don't know um it's definitely one of those and it just combines them together in a way that is faster uh than the uh thing which could also be used to join but whatever uh we're going to take this we are going to join the original geometry again this is our hamburger bun and we're going to join it with the sesame seeds so the way you want to think about this this geometry right here is the bun and then everything here is the points the distribution it's the sesame seeds okay we join these by the way we can shade smooth um second issue by the way you can see that they're there but they're kind of like intersecting or they're kind of inside the surface one way to fix this is you could do it with nodes uh for this one i'm just gonna do this edit mode tricks i'm just gonna you know select the sesame seed whatever we're instancing and then just bring it upwards okay and we kinda wanna look at it here to see when we're hovering above so we don't wanna go too far but just a bit okay basically what's happening here is we're just moving it away from its origin and the point distribution whatever it spawns in the sesame seed at this dot so if we hover it above it's going to hover above here's the point okay okay we have sesame seeds um let's mess around with some nodes now okay uh because we have all this control let's use these parameters so density is gonna say uh how many you know sesame seeds do we want uh we bring this up we get more sesame seeds again they're gonna be normal to the surface and everything works although a couple of issues first of all it's on the bottom of the bun right here there should be a transition to like a more bready looking material and there's not sesame seeds there usually so we don't want to spawn them down here but second of all and this is a big deal i'm probably gonna make a standalone video just on this because it's a big deal these sesame seeds they're intersecting okay luckily there's now finally there wasn't before but this is the first time there's a way around this how do we fix it we change our point distribution mode not from random so it just you know puts points randomly we take that and change it to poisson who's a mathematician a disk you're going to see when we do this nothing happens however the main difference is we get something called the distance slider what the distance slider does is it says no two points can be within blank distance okay so right now it's zero so it's kind of off but if we increase this you can see um now we've essentially gone rid of the intersection because no two points can be within 0.13 distance okay so basically it's using some kind of poisson disk algorithm i don't know what it means but it avoids intersection which is the point and we can still mess around with all these other sliders i want my sesame seeds to be smaller so i can scale them down i want i mean i guess that's really it by the way we also have a seed thing so i want to change the seed and that's just gives us random distributions um all of these are not going to be intersecting is the point okay cool another thing how do we get rid of the thing on the bottom like we talked about well if we could paint or use vertex or weight paint or one of these if we could define a map and say this is where we want or actually don't want sesame seeds then we can import that in this attribute which we're going to talk about so what i'm going to do is i'm going to go to weight paint i'm going to go to our object what's this called object data vertex groups you're going to see when we paint we automatically get a group that's important okay so i'm just going to paint um and what i want you to think about this as is this is the area where we want sesame seeds so i'm just going to rename this to sesame i'm pretty sure this name is actually pretty important because this is now an attribute it's basically data that we can import and that's what an attribute is and i think we should be able to just type in this name yeah make sure these names are matching so if we update it here you have to update it here so let's see if we add an s yes it breaks right you need to update the s in the node uh but what's the point the point is you can kind of draw a custom seeing like what happens as you do it and you can also like change the seed at any time it's still going to obey the distribution law that you've made we can basically paint an attribute and the idea of attribute again data that we can create or modify or whatever it's going to be important because we're about to mess with them again so i'm just going to you know do this roughly doesn't need to be perfect you can go back and mess with this is the point which is the the thing about nodes it's procedural we can always go back okay uh we have this um speaking of attributes we want to randomize some of the attributes for example each of these points or i guess you could think of them as the sesame seeds but really they're spawning on points each of these points has an attribute called scale we actually messed with it right here right we changed the scale it also has an attribute called rotation there's an attribute called normal stuff like this so we're going to mess with it so first of all let's mess with the rotation so i don't want all the sesame seeds to be pointing um oh i mean i do want them to be kind of flush with the surface but they shouldn't all be pointing like upwards towards the center of the bun like a ant colony try it's just creepy to be honest right um there's some variation in fact there seems like there's a lot some of them are pointing down sideways whatever okay so how do we do this well we've distributed the points again order of operations matters we've scaled them and now i want to uh randomize their rotation so we go to attributes and i think yeah there's attributes and there's a whole bunch of stuff just to mess with these things we're going to go to attribute randomize okay so we take an attribute whatever it may be in this case it's going to be rotation and you got to memorize these names it's not rotate it's rotation make sure you spell that correctly now we want to take the rotation and randomize it okay basically there's a whole bunch of sliders and stuff here we're not going to mess with too many of them you can randomize them based off of a single number which is what float is you could do a vector so you can mess only with like the z rotation and only the y rotation whatever i'm going to do float so this is just going to mess with all them at the same time using a single slider okay we've randomized this um however um even though we've now messed with the rotation each one of them should now be random from its initial thing and ideally independent from each other so no sesame seeds are like linked to each other um even though we've randomized it you can see we still want it to be flushed to the surface and yesterday i was going crazy on the little blunderness discord i'm like how do i do this how do i do this and i actually ended up answering my own question uh before anybody could help me with that so that was pretty cool uh the answer is you go to a line rotation to vector i'm assuming the only reason this node exists is to solve this issue so again we need to orient these to the normals okay so first of all we've randomized our rotation this attribute now we want to mess with it in a way that it actually respects the normal the direction outwards of the surface okay so you add in this node okay then what do you do for the vector that we want to align rotation to vector right this is the vector instead of you know putting one in custom that we can you know do stuff with i'm going to change this to attribute because each point is going to have a different like reference normal of the mesh okay so for this vector just type in normal and you can see it updates um and then you just got to pick the right one of these so y is almost correct although it's perpendicular so it should be z and you can see this fixes the issue now these are flush with the surface but we can still randomize these because the um alignment happens uh after if you do this the other way around uh you're gonna have an issue okay so order of operations matters so you can see now it's like messed up again so i'm just gonna go back to the original and by the way we also have a factor to control this but whatever and you could do this with an attribute and all this so you could you could have some sesame seeds kind of poking out if that's what you want but for me that's not what i want okay okay so we've done the rotation let's also randomize the scale so now that they're here we can change their size i guess there's probably technically a correct spot for this but i'm just going to put it here and i guess we wouldn't need this note anyways but whatever doesn't matter attribute randomize after their rotation i want to randomize not their rotation but their size or scale and generally if you can think of the name for this hopefully the naming convention is what you think it is okay so for the maximum i want i guess .035 is what we picked and for the minimum in other words each one of these is going to get a random like scale value the smallest it could be in zero is zero the biggest it can be is 0.035 i want the smallest sesame seed to be like i don't know 0.02 so none of them are too small whatever and you can mess around with this so again all of this is procedural we can increase the density although it doesn't let us right unless we bring down the scale bits so they can be a bit closer you can mess with all this mess with the distribution whatever but at this point and by the way one more thing i want to mention and then we'll move on to materials again because of this is basically a custom modifier is the way you want to think about this um and it still respects this hierarchy we can still at any time change the displacement and you can see the sesame seeds are kind of sticking with it it's trying its best sometimes it moves so much that it needs to generate new points because the distance between them has like shrunk it's kind of like something to do with geodesics don't worry about it if you don't know anything about like differential geometry or whatever but you can see this moves with it however if we were to put this above you're going to notice that now it's not working the way it's supposed to because now it's also displacing the sesame seeds so order matters if you take anything away from this tutorial other than the whole furry thing from before take away this order hierarchy stuff mattering okay okay cool so we've done that let's do uh materials and for this i guess ideally you you just want to do some like projection textures and stuff like this but for my purpose i'm just going to do some like procedural material stuff because it seems like we're doing everything procedurally here okay shader editor we're going to make a material i guess first of all for the sesame seed then for the top bun and then a very similar one for the bottom bun maybe even identical okay um so starting off with the sesame seeder i guess with our render scene let's switch over to cycles just so i get like a good render results i want to kind of set up my lighting and environment i'm going to go to film enable transparent this is just going to make your background invisible why do i do this because i'm going to add an hdri right this is to add in lighting without actually adding in lights you got to be lazy right um and i don't want to see it in the background okay that's why i did it so you go to environment texture in the world tab and i'm going to load in which environment texture uh one of these hdri haven any website you could shoot your own uh basically this is the scene our hamburger is going to exist in um and we could always like swap them out at any time for this time for this one i'm just going to use this one because i like it okay um cool so we have our lighting let's start off with our sesame seed we make a material call it sesame street seed i spelled it as a sesame steed hilarious um sesame seed what do we do with it well anything we do to this material because it's applied to this is going to be instanced on every single one of these right that's the beauty of this we don't need to make 100 materials right we make one here and then the copying happens um so ideally you could hit a e for eyedropper or extract like i used to call it and then like sample the color although i found that you know there's already lighting and stuff baked into this so maybe you could try to sample kind of like a yellowish tint and then you know that kind of works um however you could always put in the color manually so i'm just going to desaturate this a bit and we can always play around with this later okay we have sesame seeds we can make some of them darker some of them whatever but for now i'm okay with it um next let's move to the top bun we make a material we're going to call this top bun or should i say top gun okay top bun what do we want to do to this well first of all we want it to be kind of a burgery type color so again you hit e while hovering over this e and then you can just click anywhere on the screen um and we get a nice color dude this reminds me of the spongebob gamecube game i used to play i used to be obsessed with the krabby patty as i think a lot of people were there it's like i know it's a show but i actually do want to know how it's made right um what was the point the point is we pick a color um is it reflective i don't know i mean it seems to be kind of shiny but this is kind of like a set dressing so i'm just gonna bump up the roughness so it ain't as shiny or as reflective for the color i don't want it to be just a single color and by the way we're going to deal with this bottom part later but for now let's just deal with the top i want to have some variation so to do this i think what i'm going to do is i'm going to use a noise texture so again noise texture it's varied across the surface and i'm going to use this to mix rgb so this is going to be the factor it's going to be the where is this happening kind of slider right i'm going to use this with multiply and i'll explain it in a sec so first of all i'm going to copy this color over so ctrl c ctrl v plug this in right here and view it the idea is i want to multiply this color by black why do i do that well the idea is we take this original color and wherever we multiply this with black it should get darker well where are we going to multiply it wherever this noise is so you can see some areas are darker than others so because of this i think i'm going to brighten up the bun just a bit and maybe make it yellower i don't know no that kind of looks like a potato now we can always mess with it this is a good way to add in variation so now we can actually mess with the quality of our noise well what do i want well i want texture coordinates i'm going to set this to object coordinates good just because i know it's never distorted i generated coordinates tend to be a bit stretched although i do believe they move with deformation so if you move the displacement it might be useful either way i'm going to bring down the scale so it's kind of like low frequency changes maybe even lower let's see what that looks like i do want it to be a little less subtle than that so we add in a color ramp just to bump up the contrast so you can see we're making the dark areas darker and we can make them even darker although if you go too far if you go too far like you put them right next to each other uh you're gonna get this this is more like uh what a ah am i how am i gonna do this this is more what a fill in the word in your head it said no it's a woman who wears a certain kind of leopard print you understand this is a good way to add in some variation and we can always mess around with this later um some things like to do with this is i always like to bring up the detail just so the boundary between these is more detailed than you know this right i want a lot of detail maybe a bit of roughness so it's a bit more distributed i don't know something like this we can always play around with it later um this is a good start okay uh there's more things we can do we can also do the same kind of and you know what whatever i'll just do it we can add in another noise texture the idea here is before we even do this multiplication i'm going to sample two colors not just this one but i'm going to make like a modified kind of yellowish version so just two colors same idea as before noise texture this time instead of multiplying you set it to mix mix and make sure to set the seed value to something different just so it's not using the same pattern for where to darken and where to vary um so the idea here is let's bring down a color ramp is i want some parts to be orange some parts to be yellow i'm sure there's a rule to this if you actually know what baking is i don't um so i'm just going to do it so you can see there's a bit of variation and then we send this through here and then it gets darkened um so all of this is just to say we're adding in variation that's the point um secondly how do we do this um or you know what not secondly let's finish the bun or the top part of the bun um it's smooth it shouldn't be smooth there should be crackles and a bit of noise and stuff like that so let's add it in this is all going to be normal information um so let's add in yet another and this is where it gets a bit risky you don't want to add in too many noise textures if you can help it it just slows down to render um but whatever it doesn't matter we're going to take noise texture we're going to do this we are going to set the number let's use object coordinates again to remove distortion i'm gonna set the scale to something like huge just so we have very fine detail so this is like the grain of the i don't i know nothing about baking either way this is like the quality of the bread uh we're gonna take this we want to convert it into normal mapping bump node does that what what does it do it takes height information in other words just black and white image takes it and converts it into normal information using the gradient blah blah you connect it to normal and you can see this is just going to give it more of a bread like quality and you might want to like bring down the strength of this although instead of bringing down the strength here now what you could always do is um before it even reaches the heights you're going to multiply it by like a small number so 0.5 makes it half as strong 0.1 makes it like a tenth of strong and then 0 makes it not even be there so i'm going to do something very light it seems like 0.05 and then we could even make it even a bit smaller like 300 and this really does help it look like bread so this is before it's kind of too smooth and after okay it's kind of a big deal and we can always change this stuff later but for now that's fine okay um at this point no no no we should add in the cracks i don't know if i actually will but let me just show you how to do it borin what uh you want to add an avoronoid texture for this one because this is an easy way to generate cracks uh you change this from f1 to i think distance to edge or maybe smooth f1 i guess you have a couple options distance to edge is kind of the obvious way to add in some cracks but i do like smooth f1 um either way you take this same thing as before you do a color ramp this is just to define some like lines and stuff like this and you want these to be pretty harsh so we're going to bring up the scale just so they're smaller you know what at this point i'm going to go distance to edge but same idea this is just adding a bit of crackle to the bread so i'm making this like very hyper sharp and i guess we could kind of reverse this so this is black and the lines are white it shouldn't matter too much but you know it's a thing you can do i want to bring this really close and maybe make the crackles a little bigger this is just something we can also incorporate into our bump node well how do we do both the noise right and this uh well just to combine anything you always kind of do addition it's just kind of the way you want to think about it so it won't look great kind of looks uh horrible in fact but you can see this is the way you add cracks again how do you make it look better you can either add in a multiply right here to make it softer or in fact since we have a color ramp you could just bring down the bright areas closer to black the closer it is to black the less visible it will be okay and you can also play with the scale just to see what would look good so do i want it to be a very small number maybe or maybe do i want it to be a very big number i don't know but the point is you can always mess around with this but you don't want it to be too visible is the idea okay i'm going to call this part of the bun done let's talk about how to do this bottom part where it's just bread and stuff like that like how do we transition between two materials well uh we could either do that with a selection right we select all of these faces on the bottom however then we're gonna have a incredibly sharp edge um instead what i like to do is we are gonna make a custom transition okay how are we going to do that well if we take a coordinate system i guess generated we can play around with these separate by x y z so i'm taking generated coordinates i'm saying oh we could separate by x y z the z one is going to be black at the bottom and then it's gonna rise to one okay so in other words we're going imagine the bounding box the cube that contains this the bottom of the cube is z equals zero the top of the cube z equals one okay um this is a great way to make a transition why because if we were to use something like a math i don't know a mat you could either do a greater than just to make a cut off or if you do a subtract and the idea here is you could do kind of a soft cut off either way you can separate top and bottom is the idea okay well what do we want to do with this well first of all let me make it a bit sharper just so one doesn't bleed into another so i'm just going to bring this over here just so the transition is harsher but still not like a perfect line like the greater than's too intense right so there's just a bit of a fade what do i want to do with this well i want to add in another bsdf i guess a principled bsdf so i want you to think of all this everything we've done one material and this bsdfs another material we mix them together by the way that's ctrl shift right click drag if you care um you use this as the factor so let's connect this as the factor and i guess uh flip them and now you can see we basically have control of the top which is the same thing as before nothing's changed uh but the bottom is now completely controlled by this bsdf why because we're mixing them how are we mixing them uh with this factor okay cool so what do we want well first of all let's work on the boundary and once we've worked on the boundary let's work on what the bottom will actually look like so i want it to be kinda there i want it to be a bit sharper like .04 but mainly mainly you can see it's not very even right some of it's it's kind of like a wave it shouldn't just be this like perfectly straight line going across um well how do we add in this distortion here's where it gets a bit complicated don't worry about it too much if you don't understand the math we want to mess with the texture coordinates here before we even separate by x y z right so if this is all going to depend on our z coordinate well if we can mess with it before it even gets there well then it's going to be distorted how do i do this well we add in yet again another noise and we might be able to outsource one of these from before although they're not really the right setting so i'm just going to add in yet another noise texture it might slow it down but whatever you take these two ideas this coordinate system and this noise which is effectively just randomness and we want to combine them so you can do it like that i believe so that is going to mix i guess we should use the color just to get x y and z information or rgb we're going to mix these two together so in other words we're taking our coordinate system that was here before just generated coordinates we're adding in randomness and you're going to notice it doesn't really do what you expect there's a reason for this point is that the random values on average adding 0.5 so there's a shift happening don't worry about it set this to linear light okay this is going to take care of it there's a way to do this manually but this is just a way to take care of it okay uh we're going to do the do it like this before we mess around with this too much i just want to raise this a bit more just so we have a bit more leeway and the way i want you to think about this is this slider basically what it shows is how much distortion there's going to be and i think we might want to flip these yeah it's going to show the distortion of the boundary okay so let's view it from the side so when it's zero we get a flat line when it's a bit more we get distortion what does the distortion look like it's dependent on the noise okay so first of all let's bring this back down because i guess i had it flipped so this is the boundary between materials in some sense even though this is all one container one material it's really the boundary between bsdfs we want to have this be a high detail boundary so like very sharp stuff going on also high roughness maybe so this is low roughness it's kind of soft high roughness makes it kind of battered and it's noisy is the point and then the slider is just how much overall noise should there be the issue is if you bring it too low um if you don't have your subtraction like your cutoff set high enough right if you do not have that you're going to have this issue so you just want to bring it low enough that the whole bottom is kind of filled in but also i guess we could raise the boundary just a bit to give us a bit of leeway uh but not too high that there's that issue so i'm just gonna mess around with these values until i roughly get what i want and i think that's good i mean it should be a bit lower so let's bring it lower and then let's mess with this until we don't have too much of that issue a tiny bit isn't the biggest deal okay cool so now we've defined a custom boundary again this is all for the factor of this mix shader which means you change the color it only affects the bottom okay and now that we have control of this area what do we want it to look like well it should be bread and i think this part is extremely rough like it shouldn't be reflective so like something like 0.9 roughness i don't know it should look like that for the color for the color i believe we want it to be like slightly yellow i don't know we can mess around with this later just a bready color i think that's a good one then what do i want to do with it the main thing that makes it look like bread is it's kind of porous and stuff like that in other words normal mapping the same thing that made this look like a a bun it's the bump right uh to do this we're going to do voronoi because it's good for this kind of stuff different kind of noises or textures are good for different scenarios we're going to use voronoi because the way it's generated is it scatters a bunch of points kind of like point distribute it scatters a bunch of points and gives us the distance from them or distance to the closest point in other words it's a bunch of circles is the point and that's what bread is it's kind of like porous circles like a sponge we take this we bring up the scale to increase the number of circles so you can see now you can really see what's going on here we take this we filter it as always through a color ramp just to get a bit more control here so i'm thinking we bring this up and then you can really start seeing the circles we take this we filter through a bump and then we can always mess with around with it later again we convert it we take height right and we convert it into normal information and now let's see what it looks like okay it's a good start it doesn't look good uh but to make it look good i guess it's looking not porous enough so let's bump this up to like a hundred and maybe that's too much maybe like 75. uh you can see oh there's hammering on outside sorry about that um this is a good way to start you can also change the randomness value this is going to make it a grid all right this is voronoi as a grid i guess you want to keep randomness at full but some other things you could play around with i haven't messed around with this too much you can change the type of voranoy nonsense to different things i don't know what all of these mean but some of them look more like bread i think f2 kind of looks better than f1 and then you could also play around with what is smooth f1 well it's f1 where you can like choose how sharp the cutoff is going to be in my case i think f2 is kind of the way to go it really does kind of look like bread it really does um only thing i would change here this cut off that is again the factor i feel like it could be a bit sharper so i'm just going to bring this again closer just so it's a bit of a harsher thing you could also add in some noise here or some random color just in the same method as we did before like nothing changes um however at this point we're really starting to add in too many noises if we do that do that it's not a big deal but it's just a thing okay at this point uh let's make the bottom bun this time i'll speed through it because you already know the process um we just need to basically change some sliders so we're gonna take our top one material we're gonna create a clone of it so this is now not the same top bun material right this is different if we change a node here it doesn't i mean it doesn't copy it over to the other one it's independent so this one's going to be bottom bun generally everything should be the same the only difference is this bread line should be at a different spot right because it's at a different area well how do we find it well now generated coordinates refer to this object where z z zero is here and z1 is up here we kind of want to flip everything we've been doing so if we bring the subtraction i don't know it's one of these directions the color ramp might be the issue so for now let's actually just view it like this we want to bring it up so instead of 0.02 maybe it's like 1 minus 0.02 i think that makes sense we take this we send it through the color ramp and i think the color amp settings should be fine seems like it's fine let's see what it looks like no it's inverted well easy fix we could either flip the color ramp or you can flip these sockets like that okay we need to change the settings just a bit because you know different objects are distorted to different amounts well i guess we just want to bring this down a bit and um you could ch i guess we want it to be a bit lower i guess uh since these are independent from each other we can have different and noise values so maybe this one i want the boundary to be super noisy because it seems like it would be a little too sharp otherwise i think that's pretty good is anything technically different in the bottom bun it seems like it's a bit brighter less cooked i don't know i got i don't know anything about this so what we could do is if that's the case we can make these colors that it's using slightly brighter so this is just to make the bottom bun brighter again the reason this could be looking this way is because of our lighting situation where um well whatever hdri we have again don't forget we have a lighting environment um it might just be causing that but you can see this is a good start it really looks good and again literally everything we did here from the displacement right displacement to the sesame seeds to the materials entirely procedural okay so at any point i can go back to the geometry nodes i could be like okay how many sesame seeds should there be i mean it looks kind of right but maybe there should be a few more i could either decrease the distance or bump up the density for that distance i think we're going to have to decrease the distance in this case and this is going to make it so some sesame seeds are close to each other but again not close enough to be intersecting okay um what else sesame seed i feel like we could make it a bit darker so let's just do that really quickly i guess um so i'm just gonna take this i'm gonna darken it a tiny bit we could also randomize this i don't think it uses the same thing as particle info i guess though so will be a time to find out no so normally with um when you distribute it using particles we have this otherwise or what am i trying to say i don't know what i'm trying to say is the point uh when you distribute with particle with particles instead of geometry nodes you get this random thing um technically i do believe there's a way to do this with geometry nodes right we have attributes here as well uh just like the other but this part keeps being updated so i'm not going to mess around with it uh too much so like i don't know which thing we we would call uh but if you can call the right thing we can see it so like i don't know people have had some issues with this even on the discord so it doesn't seem to be working but in theory you type in one of the attributes from before you pick the right one of these and then it should show up and then you can you know randomize it but um but i don't think i'm going to vary the randomness here there's probably a way to do it using like texture coordinates from instancer but this ain't the time to do it for eboln but maybe i'll go back to that on a future tutorial anyways probably the longest bun tutorial anybody's ever seen but also the most useful question mark i don't know i mean probably nobody talked about how to do it procedurally so anyways procedures [Music] i'll be honest with you i really have no idea what's going on over at the discord server but they're going crazy over there they want the meets and as a wise man once told me again uh i'm willing to give you that meat so uh we're continuing the hamburger last time we made buns this time i'm going to show you how to make the meat so the discord server doesn't like i feel like it's getting crazy over there actually scary and i don't want to weaponize them so the best defuse them now uh point is we're gonna be making a patty like the meat patty and i'm also gonna show you a cool method uh for draping cheese over this uh without like modeling or anything like that we're gonna use simulation so anyways uh buns we've made them we're continuing uh if you haven't seen the first tutorial i mean you don't need to i mean this is kind of independent but whatever um let me delete the ground point we don't need it so uh to make a meat i guess we're gonna use the same method as before so i'm just going to put this right here we're going to do some modeling again since pretty much everything here is cylindrical in the sense that it's rotationally symmetric you want to start off with a cylinder now ideally you probably like subdivide it a bit more than i did but it's too late now and there's no going back unless you're hermione uh with the time turner and uh that is a game breaking or a book breaking mechanic if you think about it either way uh take a bun uh model it roughly to the size and proportions that it should be loop cut this is basically the same thing as before i'm basically going to do basic modeling and the rest of this is going to be modifiers okay so with the meat patty we're going to add in a subdivision surface why because we want to do smoothing and to get rid of these artifacts which we do want to get rid of again you want to inset the top and bottom because that's where the poles are and there is an argument for saying that you know this doesn't really matter because it's going to be in between the buns and you can't see it anyways but probably worth doing especially if we want to do an animation which i do at some point um okay boom geometry maybe add one more loop here one more loop here and we're golden okay we have a patty um just like the other uh pieces of this burger i want to make all of this as procedural and as you know chaotic and random and as and as noise based as possible right uh to do this i'm gonna take the patty same thing as last time right we're gonna do a displaced modifier why because this is a great way to add in some procedural noise for free again the order of this matters this is not the same as this first we're going to add in geometry with the subsurf then we're going to add in displacement okay for this we're going to use a new texture so we already have a texture for the bun distortion which is kind of this very light one but for this one we need a kind of crinkly very dense bubbly uh distortion i played around with some of these seems like musgrave is kind of the option that you want to be using so must grave turn down the strength to something that's not insane so again this is the strength of that texture and then we're just going to play around with some settings so size is going to be kind of the scale of this pattern in this case we want a lot of detail which it's kind of like an inverse relationship we want the image to be small very tiny so we get more variation more dots here so you can see now we're getting more crinkles maybe not as many there we go um and additionally these have different sliders in the cloud texture there's dimension which definitely means something i don't know what it means and there's also lucanarity which just reminds me of that avatar episode with saka and the moon because i guess soluna kind of sounds like luku i don't know uh you could play around with some of these uh generally i think i'm okay with that so maybe maybe what we want to do subdivide once nah subdivide twice and then displace and then either subdivide again or smooth just so it doesn't look as intense and with smoothing you just add in more iterations to make it look better what i'm thinking is should we do should we do a subsurf it's getting a bit computationally expensive to do it this way but it seems like it's worth it okay so we're going to add in another subsurf after this again the order of operations matters i'll stop saying that at some point probably never there we go we have a meat patty and again the nice thing about this is we can control it procedurally at any point so we might even end up modifying it in a second okay uh meat patty how do we make it look you know like it's made of meat that's going to be the material so we're going to select our patty which i'm just going to rename to patty boom and create a material and call this one patty let's spell it this way like a name okay for the base color i'm going to make it you know the color of meat a great way to do this e for sample or not sample for extract or eyedropper i just sample a color of this meats i guess you want to pick like the average kind of orangey one wow that looks horrible we'll fix it um we can do a bit of modification to the color here just so looks a bit more burnt and just like all these other you know things what's gonna make it end up looking real is the normal mapping and the uh shininess and color variation and stuff like this um so starting off with the uh normal i think that's gonna be a good place to start uh noise texture probably a good way to start this is just to add in some variation and i'm going to use object coordinates by the way the reason there's a this distortion i don't know if you can tell but the generated coordinates are kind of stretched along here it's because the bounding box has been kind of pinched because we kind of like scaled down this object we might be able to fix that by doing like an control a like rotation and scale yeah that seems to fix it now basically you need to update the bounding box if you don't want to mess with this object coordinates are the way to go and that's why i did it because object coordinates just kind of look at the origin and that's it it doesn't really care about the bounding box for this what do i want to use this for i want to use this tab in some variation kind of like a rocky surface and i know it's meat but meats can be rocky too it kind of looks like some kind of alien planet where if you step on something it just smells like old cow meat right so for that noise with high detail with high roughness we're going to take this convert it into normal mapping again this bump node is used to convert height information so black and white information height information into normal information we plug this in here we look at what it looks like and now it kind of looks you know it looks more meaty definitely not great uh but it's in the right direction so let's make it half as strong okay so this is uh without the normal mapping this is with it's kind of important it's kind of a big deal to making this look realistic and we can mess around with the uh scale and stuff like this see what looks kind of correct i think we'll stick with five for now okay uh cool how else do we make it look like meat well uh first of all there's variation in color and second of all kind of in the same areas for reasons that make sense there's variation and shininess kind of like the areas that aren't exposed uh should be shiny because i guess the oil doesn't come off of it whatever uh point is we're just gonna use yet again another noise texture to control this and we might end up using the same one but for now i'm going to experiment using a different one so four dimensional give it a different seed value this is just a three dimensional cross section of a four dimensional noise don't worry about it this w slider just ensures you get a different noise every time is what you need to take away from that now we're going to use this to first of all uh mess around with the color so mix rgb just like the last time ctrl c ctrl v just to sample the color this is kind of the same thing we did to add some variation to the bun so some areas are darker brighter yellower browner whatever we're going to use this as a factor for multiplication against black uh why do i do this the reason i do this is if you take a color and multiply it by black in other words the color or the vector 0 0 0 it darkens it by how much by this factor right so some areas are going to be multiplied more by black they're going to get darker and some areas are going to be less affected they're going to be brighter um and now we can actually might be easier to see what's going on if we pick a bright color maybe it's kind of hard to tell we have this green color and some areas have variation but now we can kind of pick a hone in on a better kind of meat like color so something like this maybe a bit oranger redder definitely one of these that kind of looks like meat we can go back to that though um okay so that's a good start uh for roughness again how shiny this thing it wow i feel like i don't know if you guys just got this vibe sometimes i'll be talking and just realize i went on autopilot for a second there i'm like did i i don't know if i legitimately just stopped talking for 30 seconds or something it's entirely possible i feel like i just blanked out roughness that's what i was talking about is how shiny a surface is if we make it zero you're going to see it's super shiny if we make it to one it's going to be super rough one way to go about this is to just kind of keep it very shiny and that's just a good way to kind of do this but since we want a variation where some areas are shiny and some are not we can always use this factor from here and to connect it to the roughness and basically what this is saying is the same black and white noise is going to control and the black areas where it's not rough and then the white areas where it's very rough as in uh very not shiny but for this one we could do a bit of a modification since i want more of a visible uh distinction between where it's shiny not shiny so i'm gonna bring this up and this is just gonna make it uh more high contrast so before after and the way you want to think about this is these black areas that are super black are going to be super shiny um however if it's going a bit too far you can take the minimum shine and i know we're getting a bit in the weeds here but you can take the lowest value could be this black slider roughness zero and bump it up to something like 0.15 so even at its shiniest it's only 0.15 nothing crazy okay um second level variation we want to mix up the color so it shouldn't just be this one shade for this we're going to be using mix because we just want to mix two colors not doing this multiply by black idea um so we're going to do two colors one of them is going to be that the other color is going to be kind of like maybe a a darker or brighter i don't know maybe a redder brighter color we can mess around with that in a second connect that here and then let's try reusing this noise from before i don't know if it will like technically make sense but let's see what it gives us there is not very visible color variation here we might need to bump up the contrast by the way um if you don't like using a color ramp just a quick trick you can totally use a brightness and contrast node to control this however um it doesn't really you know give you as much fine control over stuff like it does work you can see now we have color variation um but instead of just using a contrast slider i like to have these two sliders uh but now we have color variation and then we multiply so now you can see we have three things going on two two colors plus one darkening and that does add a good amount of variation i do like that uh there is a good question as to like what color it should be like should it be super bright or should it be like super black maybe it should be super black this actually makes it look cooked uh which is a great thing i'm gonna i'm gonna go with that uh but you know it depends on if you want a medium rare or by the way just side tangent people who order medium rare piss me off i know it's the most common one but i i in my mind medium is what everybody wants i think me people order medium rare because you know that's just what their dads ordered and then you know you follow suits you never vary anything so that's just you know how you live your life now just a thought um okay so we now have a very burnt in a good way a well done let's say looking patty this is kind of a different one this is more like i don't know it almost looks like it's like seasoned and stuff like this but this looks like a patty this is good um i do want to add in one more thing before we move on to the cheese and this one's really useless but i do think it's fun i want to add in like burn marks like if it was grilled like a bunch of lines um we could do this procedurally we could like we could make a bunch of wave texture kind of things or we could do this with texture paint which is what i'm thinking about doing since you know we haven't really touched texture paint here and i'm trying to go through all the areas of blender in this tutorial i suppose so new image texture we're going to call this like grill lines and this will be a great way to show like the interplay between um well between what between procedural stuff and like you know very uh rasterized textures uh grill lines okay we want to go to texture paint um we're gonna be painting grill lines so we could actually just go to single image here and load in grill lines and the way you want to think about this is whatever we draw here is going to draw onto this grill lines image which we're then going to need to save but what i'm thinking is we're just gonna like draw some lines here so to do that uh easiest way stroke change it to line this makes it so you click drag and then it makes that line so i'm just gonna make a couple and i think you can hold ctrl no it's alt that'll make it like a straight line i'm just going to make a couple of grill marks we can even mess with this later procedurally but this is just a good start i guess we should also have it on the bottom right i feel like that just makes sense so let's hide this go back to to what to texture paint and do the same thing on the bottom so alt drag alt drag alt drag you know just another thought since you know i feel like a lot of this processes me just like doing a long thing and i feel like i need to fill in the dead air right um i've noticed in the past especially when i used to do transcriptions a lot more for these tutorials there's a lot of reasons to say alt right click especially when you're doing motion tracking and i was like looking back at these tutorials i'm like wow i'm saying alt-right quite a bit in these tutorials just a thing i wonder if youtube catches that in their little algorithm uh grill lines uh we have the image what do we do we save it so alt shift s while hovering over here or you could just go to like image save as like a pleb alt shift s is the way to go if you want to you know impress people grill lines just save it out i'm on the desktop uh the reason we do this by the way is if you close blender and open it up again uh this texture will go back to blank right this white line stuff is gonna be gone unless you save it which is why we do it um and then we can just load it in manually here so the idea is we have all this done perfect for the image texture i'm just going to reload this even though it should be fine so i'm just going to reload it load it from the desktop and now we have this grille lines thing using the uv map and now we could do literally whatever we want with this we can use it to darken we could even distort it stuff like this so what's the idea the idea is we want to do this like multiplication idea where it's getting darker but also incorporate these grill lines well whenever we're talking about incorporating it's always an addition so we want to take this noise that's basically this black and white mask saying here it should be dark here it shouldn't right multiplying by zero we take this and then we add an influence from the grill line and i think this is the correct way to think about this so now we have these let's see if that gives us what we want yes it does the alternative is it gives us like the exact opposite so here you can see what's going on here it gives us the exact opposite uh where you know you want to add in black not white either way i'm getting lost in the weeds so cool we've incorporated it i'm thinking also where did it go where did i just put that image texture i've lost it already it's because i'm on the wrong material there we go um i want to make it less intense since it's just kind of like dark black so to fix this just like usual we're going to multiply at this side so it's going to get scaled we're changing the strength before we add or incorporate it uh so again if it's zero invisible if it's one we have our lines let's do something like point five i don't know half as strong should be good um by the way another thing and this is this is a bit a bit much i'll admit it but i do think it's cool um even if your texture paint is already locked in like we did these like lines right we can't go back we can still make them jagged distorted lines without even repainting well how do we do that it's actually the same technique that we use to uh blur between these two materials make this like harsh i mean not harsh kind of like wavy boundary um so the idea behind this is right now this is using uv coordinates intrinsically like you don't even need to plug them in but it you know it's as if uv coordinates were here uh what you want to do is you want to take this add in another noise and make the render even slower when we get there but that's you know that's the price you pay and we're gonna mix this with some noise should work so you mix these two together and just like last time you set this to linear lights and i gave a whole explanation about that but the point is you can see here's our original thing so linear light is zero it's as if you know we're just using uh uv coordinates so again we're distorting the coordinate system before we even get to the image we're not changing this image it's always going to be the same but if we distort how it's mapped on the object it's going to look like it's shifting right we take this we increase the linear light which is going to be how much noise how much randomness is going to be incorporated and you can see it adds in some variation not good variation but it exists to make it look good we add in detail this will just make it look sharper a bit of roughness and this will make it look more like charred lines um and then we could play with the scale the bigger the scale the more like electric this looks like and the smaller the scale the more kind of like low frequency detail uh so there's an argument for making it like this kind of like charred lines i'm thinking so let's go to like 50 and play with the roughness something like that um and this is the before and after right so we're just messing with this it also works on the bottom if we look at that bun since it affects the whole image um it's just a tiny thing to add in some realism and a lot of render time but whatever um if we ever do see the actual patty uh where it's not covered with you know a bunch of stuff then we'll appreciate that um okay okay uh moving on i think we have a completed patty again all this is procedural since especially the only thing that's kind of locked in is the texture paint we did which is kind of dependent on the uv map even though we added procedural stuff um even though that's the only thing that's locked in we can still mess around with displacement and stuff like this of the patty and it will stick it's kind of hard to tell but it will stick onto this because again the uv map distorts so with it um cool so you know you can move the buns the patty whatever uh now let's make some cheese and i i told you or i promised you a cool method for this and i do have one so you're gonna notice that uh the cheese is kind of like draped over uh draped over the patty and then otherwise it just has like a yellow material and you know the normal approach for something like this is you just make a plane you scale it up you like add in a bunch of geometry just so we can edit it and then what i've seen people doing um is you know you just kind of do this proportional editing thing until it's like roughly in the right spot um i recommend since this is literally being draped over it let's use physics makes sense so i'm going to subdivide it just so we have more geometry to work with and then the core idea here is we're going to turn this into a cloth if i can remember where it is i think it's in physics cloth and then the thing that it falls on let's go to solid mode the thing that it falls on should be a collision so the cloth falls on our collision and you can see it drapes over it and then we can actually modify it after the fact which is the cool thing so for example um the way you want to think about this cheese is the cloth is actually a modifier so the simulation is actually just a step in this hierarchy so afterwards we can add in a solidify in other words thickness to the cheese just like that and the cool thing about this is again it's only simulating the initial thing the thickness is kind of an illusion but we get it for free it's not like we're simulating something with thickness right so we do that and then to the stack we add something like a smooth or a sub surf again depending on what you want but you you just get that and then if you move the cheese you can get a different simulation now of course you do want to like hone this in a bit like you want to change the cloth settings like i don't know the the cheesy settings whatever makes it look more like it's melting then cloth is a thing you can do however um i'm not going to mess around with it too much i'm just kind of kind of gonna kind of go with the default settings so i'm just gonna kind of address our simulation so to do this i'm just gonna like reposition our initial state of the cheese so i'm making it smaller still works nothing changes and i'm thinking what we can do is we can put one here make a duplicate that is again gonna inherit all the modifiers and everything this one's gonna be rotated and then we can have one more piece of cheese so this is like a triple cheese thing we simulate all of these and then uh when we're happy with this and you do this is a part that we do actually have to bake in so we do lose this proceduralism uh so make sure you're happy with this but once we are you just apply all the modifiers okay so to do that you want to go in order you don't want to like apply subdivision and then that because then it's going to mess it up right you want to first apply the cloth so we've done the simulation and then the thickness and then the subsurf okay in the order they're presented so apply apply and control is the shortcut to do that by the way and i'm going to do that for all three of these so it is going to kind of like lock it into position right like if we play now there's no more simulation but we don't need any more either okay um final issue we need to you know address this overlapping this intersection uh yes we could have avoided this by simulating one piece of cheese making it static then making it or what am i trying to say we simulate one at a time each time making it a collision object after the fact so now it's falling on the new mesh etc i didn't want to do that so whatever let me get rid of this collision as well um so to fix this super easily you just take proportional editing right and this is going to make it so when we move one face it moves a bunch of them we're just going to do a bit of manual tweaking and again it doesn't have to be perfect why because this is going to be covered with lettuce and stuff like that but if we can avoid a very obvious intersection like the kind i'm seeing here uh that's always a good thing and you can always you know take the object as a whole and like bring it up so it's definitely working and then bring back these sections so they're hovering back over the cheese and maybe that's a smarter way to think about this okay so this could be the first layer maybe this should be the first layer this could be the second layer we bring it a bit up and then we take this section of the cheese and bring it down or right there it really doesn't need to be perfect okay uh let's make sure these are all shades smooth because these are gonna have to be shiny uh so that's important and now let's see what we have okay we have a burger with a couple of draped planes how do we make it look cool uh well we may we give it a material again this material is going to be the easiest one so this is going to be our cheese material uh what do we want in our cheese material well it should be it should be the color of cheese so again eye dropper just pick the color of cheese that you want i found that when you kind of bake in these cloth simulations things don't tend to update so you got to kind of move it as you can see but then it updates you take these other two shift-click this one and then control l uh for link wow there's some new things added i don't think i've ever seen link fonts to text whatever there's some new things here i need to look at either way copy modifiers and that should work once we move it nope not modifiers i just had a brain fart you want to do the same thing but instead of modifiers it's materials i just saw an object or a thing that started with the letter m i'm like oh it must be right but now we have the cheese by the way i do want to see uh what what is new here ling all these seem to be here and i think link fonts to text is new copy v maps some of these some of these seem new to me either way uh we have our material uh it should be very shiny like you can see you can see this cheese is like highly reflective not a mirror but close so like point two something like that so now you can see we're getting the specular if we go down too low it's a bit crazy like we can literally see the room we're inside but maybe we could do like .125 kind of like a compromise no that's too much or too little rather 0.2 okay we have cheese um what else can we do to make the cheese look good well right now since the simulation's locked in uh we don't really have a very easy way to add in you know geometric variation like yes we can do the proportional editing thing whatever but we can't add waviness to this cheese as you can see uh so we want to do that in the material and like with all these things the way to do it is with an with noises but really with a uh normal uh what am i trying to say a normal map so we take a noise texture this one's gonna be very low frequency since we just want very kind of big scale waves we take this we add in bump again converting this into normal information connect this here let's see what that looks like so that's way too intense but you can see the idea i'm going to switch this over to object coordinates and the goal again is to make it look low frequency and all this so for the first time we're actually going to take detail and try to bring it down and this is going to make it look less terrainy and a bit more smooth so we do that and then also the roughness you bring down because i think roughness makes it look very jagged so you want to bring roughness down and the scale down just so it's kind of like low frequency detail and you can see if we look at the noise as just kind of like big black blobs and stuff like this but you can see here's the before and here's the after it just adds in a bit of variation for free it makes it look wavy even though it's not okay let's make it oh by the way with that okay somebody left the comments saying saying i love the way he says okay or like okay so apparently i do uh just that uh let's mess around with the color a bit more i'm thinking it should be a bit brighter maybe a bit more orange am i crazy for thinking that something like that i'm trying to avoid the look of plastic and still air on the side of cheese which is kind of hard because they look kind of similar and then you know sometimes people call cheese plasticky i'm thinking if we dip the saturation just a bit yeah there we go that will or does it do the opposite i think i think that helps it makes it look more cheesy if anything i wish i could have gone back to the solidify modifier and made the cheese a bit thinner but it's not the biggest deal in the world so there we go let's do a tiny bit of cheese variation i think technically this is an incorrect way to go about it but i'm going to do it so i'm going to make a second cheese material cheesy too this is basically the same thing but i want to change the color so um do i need to like move this again yeah so i want some pieces of cheese to be a slightly different color not green that was just a test um but like this one could be slightly i don't know more orange it's not very visible but it exists but now that i think about it you know technically this isn't correct because you know you just apply the same cheese a bunch of times but i do think it adds a bit of something so either way uh what have we done this tutorial we made a very good looking patty let's hide this cheese a very good looking patty with grill marks it's procedural you can change stuff and then we melted some cheese on top so now we have a good section of our burger and now we got to move on to bacon maybe we could do bacon but definitely vegetables and stuff like that as well which i think we're going to use different methods for but i'm not quite sure yet no matter how much we want to put it behind us okay there's always going to be that cringy time in our history where liking bacon was a personality trait like oh i'm so quirky i'm so wild i like bacon and also that reddit thing oh the bacon narwhal midnight thing i seriously regret living through that cringy time period in retrospect but anyways we're still on the burger thing i know it's going to be like a 10 part series but just buckle up because that's just what it was it's gonna be um and in this part i just want to talk about making the bacon and you might think oh bacon's kind of easy just import in an image and do all this i actually already have an image loaded in here by the way make sure you go to google images and just download a piece of bacon and with an alpha channel that's going to be useful um you think it would be easy however uh this actually presents a major challenge which is why i'm isolating it into its own tutorial so uh without further ado let the cringy bacon memories uh you know continue 2009 is making a comeback and it's scary in more ways than one so uh how do we do this well first of all we're gonna add in a plane uh you can also do this with import images as planes add-on i'm not gonna do it that way though uh because i don't know i just wanna do it the slow way import into plane we're gonna make a material and basically this material is where we're going to make it look like bacon right so take your bacon image whichever one you downloaded we're going to import it in here and then as you probably expect all we need to do is you know this is already a bacon texture which for some reason we need to move to update you take the color you plug it into the base color it's visible however we don't want the background to be invisible or no we do we do want it to be invisible forget what i just said right um and luckily we have an alpha channel to do that so you just plug this in to the alpha sockets okay uh when we view this bsdf we now have a piece of bacon it's great it's whatever we can like uh subdivide it a couple times to like you know morph the geometry and stuff like that all this is good however however uh we do want this to have thickness and this is where the issue comes in because um if i was to go to like the modifiers or just do it manually but if i was to go to the modifiers give it a solidify modifier right this is what we do that thickness you're gonna see wow um it kind of just projects two pieces of bacon without any thickness in between and that is what this tutorial is about how do we add in thickness well um one thing you might think is oh go go through this like with the knife tool and like cut around this and then extrude it you could but there's too much detail on the border so that takes too much time oh we could do this with a vertex map and then you know put this as a vertex group uh that's also possible but also uh very hard to do so uh what is the solution uh to this how do we give a thickness well um what a lot of people do is they seem to stack a bunch of planes and then render it in eevee so instead of just two they have like 50 planes and it looks pretty good unless you look at it exactly from the side uh where it becomes invisible so what we're going to do instead is we are gonna use a volume and yes this is a very janky solution but it does work so principled yeah principled volume we're gonna hook this up here so yes a material can have both a surface so imagine that this is a cube now with the solidify uh both the surface right which is the bacon and the volume uh which is the white stuff right um and what we need to do is make this volume look uh correct right it should only be under the bacon and it should also be the color of the bacon okay um so first thing we'd want to do is we'd want to like bump up the density uh just so it looks more solid of course we don't want this everywhere so we use the alpha channel from before as the density we actually don't need this attribute and by the way this works for any two-dimensional image with a alpha channel it's kind of universal we're gonna multiply this by something like a hundred um and you're gonna notice it doesn't work and this is the first big frustration i spent a long time trying to fix this because we have an alpha channel we're making sure it's very intense why is that not showing up in the density right the reason is um the reason is once we do the solidify modifier right this is a basically a three-dimensional volume and the image texture which we're using even just for the alpha right it's using uv coordinates which are only two-dimensional which means we need to use a three-dimensional coordinate system namely generated coordinates which by the way they're exactly the same as uv coordinates in this case of a plane but they also have that z component so you can see now this is actually working so right uv gives us nothing generated gives us that thickness so the way you want to think about it is um the i guess we want to not look at the surface the alpha with the generated coordinates is basically a three dimensional volume outlining the bacon okay that's the idea okay so now we have a volume that's thick in the right place but it doesn't look correct so first of all we can take the color from the texture yes we can use a three-dimensional situation now because we use a generated coordinates you can take this put it right here and then it does pretty much what you expect right it stretches the color uh from the rim downwards right it's not perfect but it does look pretty okay okay um other things we can do to this well you're gonna notice it does look a bit jagged a bit weird uh this is mainly because our image texture is like low resolution but a couple things first of all we're gonna take the density and bring it up just so it really looks solid and not like a volume and second of all in the render settings if you go to volume which i can never find there it is uh these two numbers are basically saying what quality or really what step size or like what level of precision is what step size means should we render our volumes with we have one for the viewport and one for the render well for the viewport just so we can see we can bring this down and you can see we started getting these bands which means we are getting more and more precise right and you could basically like lower both of these numbers for viewport and render but i'm not going to touch that because that is going to make the render times take forever so what do we have so far right now what we have is a procedural system this is still procedural where we can change the thickness of the bacon at any time and yes we need to lower our step size if we make it too thick obviously but luckily we have the advantage of this being a thin object so i'm going to make a thin piece of bacon additionally even though we're using a solidify modifier in this whole volume generated coordinate situation right this does not stop us from selecting an area with proportional editing right and like raising it and i guess we want it to be bigger the generated coordinates stretch with this deformation because the solidify is applied after there's a whole methodology to this but the point is this is a thickness giving what a weird way to talk about that this is a thickness giving uh technique that moves with the deformation okay so what other what else do we want to do for this bacon material which i guess we should rename before we apply to our burger well first of all it's still even though it's three dimensional now it's kind of like a three dimensional kind of flat image we want to give this normal mapping some shininess basically what we've been doing for the rest of this so same tricks as last time we're going to use the color again that even though this is just a surface property we only want to see this on the surface anyways we're going to take the color use the bump note to convert height information factor information into normal information which again doesn't really work in the uh volume section of this the rim but it doesn't matter since it's so thin now you can see now we've given it some normal mapping it's what's going to make it look a bit crisper crispr is a biological technology which stock has been going up quite a bit for the people who care um i guess we wanted the strength to be lower i remember learning about crispr in biology i didn't understand it was something you could invest in very strange world we live in additionally i want shininess because bacon has grease and i found and this might not be technically correct but i think it makes sense right the darker the images images you know the more burnt a section of bacon is the less shiny it should be right because then all the oil the bacon grease would have gone on gone off but the brighter the part of the images means it's less less cooked it's more fatty there's more oil what am i trying to say i'm trying to say we can use a color ramp a color ramp filter through here and we can make a mask based on this idea where the brighter parts should be shinier well shinier means lower roughness so i actually want to invert this just to begin with so again the dark areas are now going to be white where white is going to rep and again we do have the boundary but it doesn't matter since we have the alpha channel it doesn't matter um the boundary what the am i trying to say uh the dark parts have now been mapped to white which should have a high roughness and again the uh you know the bright parts which we've mapped to black should be shiny and we don't want like the black areas like the shiniest parts to literally be perfectly reflective let's keep it like 0.3 or something and see what that looks like so we take the color plug it into roughness so yes we're using our image here not only for color but also for normal mapping for roughness to generate this volume you can get quite a bit of information out of a single image but you can kind of see that these bright areas of the image should be a bit shinier more reflective than the others this becomes more obvious when we turn down the normal mapping they reflect by different amounts and we can even we can even make this a bit more intense something like 0.15 just so it's really reflecting okay i like the look of that let's bring back some of that normal mapping and we can always change this later now that we have our bacon piece we can start duplicating and making copies and all that so top view we're going to position it inside the burger and you know above the cheese i think technically you put maybe you put the the bacon under the cheese i cannot for the life of me remember but it's definitely one of those things so normally what's going to make this look realistic is the placement of it normally bacon isn't like perfectly centered like you have a piece kind of coming out of only one side you find so we're going to do that kind of positioning we can have it curl up a bit whoops curl up a bit go up here down here again a lot of this only matters if we actually open up uh the burger which right now it is open but eventually we're gonna put like lettuce and tomatoes and all this stuff over it uh you just wanna make it look a bit random and chaotic and not like a flat piece or whatever flat piece of poop there we go piece of bacon you take it you duplicate it again it's going to have the whole material set up and the solidify modifier so it should just work right off the bat this version i just want to like rotate a bit and have it sticking out a different side so the first one was sticking out over here so maybe this one we could have it sticking out over here i guess i don't know i guess it's always best to i mean this would this reference doesn't have bacon sweet i was gonna say it's best to work from reference but our reference ain't working by the way might be advantageous to work from look dev mode just for the positioning of this no we can't see the volume or anything but um we can kind of imagine what it's going to look like so this is just for speeding up this whole process it is trying to render the volumes by the way if you don't know what look dev mode is technically i'm pretty sure it's just like a weird instance of eevee which is why the volumes are behaving very weirdly like we haven't defined alpha like our material uh doesn't have any transparency in ev at least just position the bacon this is the point and we could have some pieces be slightly bigger or smaller than others i'm thinking maybe one more piece of bacon so i'm just going to duplicate the first one and then we are going to rotate it and position it i don't know i mean ideally we don't want these intersecting but like come on dude doesn't matter maybe not so this bacon i want to lower and maybe lower it here as well up here let's see what that looks like okay that looks pretty good and again this is no matter what you do this is pretty much going to look realistic right off the bat because we are just using like an image texture we're not doing the materials for this one procedurally unless you count the volume intentionally because bacon's one of those things that's kind of hard to make look correct one more thing we can do just to add in a tiny bit of variation which i think should help i want different pieces of bacon to have different levels of brightness so right now all these bacon pieces all share this material right we have three yeah number of users we have three users of this material what i want to do let me just move this out of the way i want to take the color that is going to the base color right we have a lot of stuff coming out of the socket i just care about this one we want to take hue saturation value or basically any node that's going to modify it so the value is just going to darken the bacon as you can see we can have very black bacon or whatever what i want to do is change this number for different pieces how do we do that with object info object info has a random socket is the idea and the random socket is going to give us a different number between zero and one for every user every piece of bacon of this material okay um so you could just like take the random and plug this in right here as the value although we do run the risk of some pieces of the bacon being you know a bit too dark um so quick fix for this and i know we're getting really in the weeds here like really the core idea of this tutorial was how do you give a flat image thickness uh now you know uh but let's get in the we we're already here okay let's get all through the weeds uh random goes through zero to one i'm gonna map arrange it so instead of going from zero to one i wanna say i don't want it to be that dark so maybe at the worst it could be like 0.5 or something like that so there's still going to be variation you can still see there's a bit of variation uh but now it's not as intense as it was before so it's lifting anything that was uh below zero right and now let's see what that looks like okay cool and really you could reposition this bacon you could add in more make it smaller whatever um but you know that's the essence of it i think for the tomatoes and the lettuce and all this once we get to it i don't know if we're gonna use the same method for the lettuce i'm gonna see if i can come up with something a bit different like maybe we could do this one procedurally but for now i just want you to know that this method exists it's interesting i found it on a forum post and uh yeah so as much as it does pain me to say it all tutorial series actually do have to end like a line segment this is the end of the line the last bite of the hamburger so uh in this part four we're going to be making the vegetables mainly being i guess a tomato and lettuce you could also use these techniques for pickles or whatever else i gotta be very careful to not swear in this tutorial by the way because we're actually sponsored yay we did it um so we gotta keep this one clean uh which i struggle with a little bit but i'm gonna do my best so uh what's the point the point is in the last three parts we made the bun we made the meat with the cheese we made the bacon which was actually its own little uh challenge right there and we're gonna use all these techniques to now model the rest of this so what you're gonna need for this final part is a picture of a tomato which i already loaded but my little ape brain was like oh yes let's forget about that tomato image make sure you have one and also lettuce lettuce image and the reason we have both of these is uh who has time to make it procedurally you know we have images we can make it super fast so uh once we have that uh i guess we can begin so uh let's start god i read another comment i know i say i don't read comments but sometimes it gets to me i'll go down to the comment section and start reading somebody said it's not only okay right i say okay all the time i also say so in the middle of every sentence so oh just did it i have no control over it so uh let's make a tomato i've already added in a plain we're gonna use basically the same technique as the bacon but a bit modified so for this one to me tomato texture wow i would not recommend eating cookies right before this the crumbs get in your throat and then you start feeling crummy and then you know that's really it um color make sure it's connected to base color and i guess we don't have an alpha channel um and for this one we're literally just going to cut out uh with the knife tool instead of doing what we did last time with the volumetrics and all this we might end up doing that for the lettuce though so once you have this thing you just click k you start outlining this and i know what you're thinking why didn't you just add in a circle instead of a plane and then you can reposition the vertices and that's a good point but then you should be making the tutorials not me in all seriousness the reason you don't do that is because then you have to do these vertex sliding uh maneuvers that then move the uvs uh which ends up you know making it so that you have two steps you have to do that and then you have to re-modify this like project from view uv so that's why i use the knife tool it's easy we're basically cutting out a circle uh the finer you do this the better however i'm just gonna do it with i gotta know 30 segments or something like this so select the face ctrl i to invert and delete faces so now we just have this and by the way if it's looking super weird here just remember there's volumetrics and i also want to uh mention that if you're getting weird uh shadows and stuff like this which we're not but in case you are you want to go because i didn't mention this last tutorial go to light paths and take your transparency passes up so if they're too low you're going to see that there's some weird stuff some weird s-h-i-t it rhymes with the dip no it doesn't it rhymes with clip it's kind of hard to find something it rhymes with when you're going on the fly either way make your transparency passes higher because then it fixes the volumetrics which look weird otherwise okay tomato we we've done this texture thing great you want to select everything e for extrude and give it the thickness of a tomato slice and uh we are gonna fix the rim i know it's supposed to be one color especially if you look at this this is like a bright red kind of thing i mean this is set dressed right this isn't realistic these aren't realistic beauty standards for tomatoes but it should just be one color relatively so if you ever look at the outside of the tomato you already know that um okay so we have this let's make it look a bit better couple things first of all and you could have done this with a solidify modifier but i'm just baking it in i guess we should do this in solid mode i'm selecting the top and bottom faces eye for insets bring it as much in as possible one thing you're going to notice with the knife tool is it does create these weird artifacts there are a way there are ways to get around this so you can pinch it like really thin but it really doesn't matter for this right so just get it as close as you can wow those cookies dude those cookies now the reason we're adding in geometry by the way um is because since the uv is already baked in um at any point and we are getting this weird kind of effect where we can't see what's going on with the uh faces it's weird uh but the point is you can select a face with proportional editing enabled move like chunks of this and then the tomato is going to move with that deformation so this is just a good way to make this look more organic pun intended how else can we make this look real well it's the usual tricks you should already be used to at this point like actually giving your materials a good name so you say tomato i say give it a material to motto uh take this connect it to height again the reason we do this is to create normal mapping for free so let's just plug that in right there um it's going to look a bit too bumpy but it does give it a bit of dimension so before after this one we're going to make very very small the strength because tomatoes are very glossy what makes them look realistic is the fact that they're watery and especially in some areas here there's they're more shiny in fact they're a bit transmissive but we're probably going to skip over that so to get that roughness idea i think we've already talked about this before we can still extract more information from this image so for example in this image um it just so happens i think it's not exactly true or maybe it's the opposite of what i'm thinking um basically the color determines how shiny it is so is it that the red areas are the shiniest and then the white areas are kind of like the rind they're not shiny at all or is it the opposite i'm not quite sure but whatever either way use a color ramp this is a good way to isolate sections of it so we can isolate what is the white area so again this is uh you know these areas right here are being isolated and then like as for which parts are shinier that's up to you i think and i could be wrong and if i'm wrong do the opposite it seems like the red is supposed to be the shinier part so in other words uh what we have as white right now uh should be it should be white it should be a very large value you know relatively so that it's a roughness very high in roughness do you understand what i'm trying to say what i'm trying to say is the white area this thing we've isolated should be very rough not very shiny and what the black area is again the area that has very low roughness uh we can set it to something close to zero maybe not exactly but like point one just so it's not like literally a mirror um and then we connect this to the roughness and then we have a nice little approximation of which areas should be shiny cool and again uh we we addressed this before by we i mean me you know yeah you have no part on this you're just the viewer um i don't know why that made me think in 1984 am i big brother no i'm a good guy um we already talked about this but the rim is a bit it's a bit uh it rhymes with duct and the issue is we have the normal mapping distorting it and the color is supposed to be one color so to fix this uh let's just make a second material there's fancy ways to do this but this is probably the cleanest so we're gonna add in a second material slot so one object can have multiple materials and this one is going to have a second tomato material which we can call tomato rim okay so right now this isn't affecting anything right because everything is assigned to the tomato material we want some of it to have the rim and to do that you just select the faces that you care about you click assign and now this has the tomato rim material well what are we going to do differently about this one well uh one thing we can do is probably just get rid of all this anything that depends on the image we don't care about so i'm just going to get rid of it and now you can really see it's isolated for the base color i'm just going to and maybe it's best to do this in look dev mode um just so we get a little less shine and stuff like this i'm just going to sample e for eye dropper or for my brain my brains just go into places i should not be talking about um we can kind of sample a color and then kind of hone it in uh to what we want messing around with the vibrance the hue stuff like this and let's see that in rendered mode that looks pretty good uh we're gonna have this have its own custom roughness so i guess it should be pretty shiny something like point two um and we can mess with normals and stuff like this but i think it's fine so shade smooth um well i guess that's the best we're gonna get out of shade smooth this is one reason uh the knife tool does suck although you you could do a subdivision surface and all this but okay we have a tomato we can modify it with proportional editing and all this but let's not get carried away let's just put it inside our burger so position it up here move it up by the way i just click h on the um on the bun just to hide it um and how big are tomato slices i guess they're thicker for one so let's see if we can do that we select the center control plus a couple times this just expands our selection that's a little trick and then without proportional editing this time we make it a bit of a thicker tamat yes that is nice it really looks realistic and of course it should because we just referenced the you know existing textures i'm just going to make this a bit rougher i'm noticing it's a little too reflective um what was the point the point is we need a set dress i'm just going to set one here we can duplicate this one position it i don't know somewhere here and again uh this is a good time to actually whip out proportional editing whip it out open your pants and whip out that proportional editing uh because now we can actually layer tomatoes on top of each other and yes you could do the kind of cloth simulation cheese idea that i was talking about before that we did before uh but yeah it just there's no point there really isn't especially for something like this like for for this one we'd want it to be way over but i'm just gonna dip the tomato under as if there's like room for that even though there isn't and let's add i mean this is a a generous hamburger you're never going to get this many tomato slices at this ripeness and size but whatever let's just say that this is a good burger i'm just going to rotate some of these slices make it look a bit varied this one could be a bit rotated bring that down and okay we have tomatoes um again uh different burgers will look uh different you just want to set dress this until it looks like the burger that you want so let's do alt h and now we have that back in uh finally lettuce we're gonna do kind of a hybrid method this one i've been experimenting around with where half the time it looks good and half the time it just looks awful it just doesn't look like a hamburger so i wonder which one we'll get now so again plain material this is going to be a let us make a material material let's load in the image so for this we're going to use the hybrid of the bacon technique because again this is an image with an alpha channel what do i mean what i mean is we connect base color we connect alpha we update it for some reason it needs that and you can see we have this transparent thing again the issue with this is no matter what we do to this whatever kind of deformation whatever at the end we want to give it thickness so we do the solidify modifier but again there's nothing in between right which is why we need to execute uh order 60s africa the the trick to begin with but before we get to that let's make it look a bit more like lettuce so what i'm thinking is and this is just a technique i've been playing around with what we do is we're going to subdivide this a couple times and the trick here is you don't want to subdivide it too much because the method i'm about to show you it benefits from not having that much detail so maybe one more round maybe the method is we're going to use proportional editing but this time for the type of a falloff we're going to use random basically what this does is it's proportional editing but every vertex within the area is displaced by a random number between 0 and 1 or like a strength value of 0 1 something like that which is going to give it this very i mean i know what you're thinking you you are messing this up but it's a variation that's actually going to be useful because when we apply it's definitely one of these i guess you could do sub surf that smoothes it out another way to think about this is you could do it with a smoothing the point is this is a nice way to add in variation which we can then smooth out and again we can always like take this down a bit so i'm just scaling on the z-axis uh um what's the point it smooths it out and if we look through the material view it keeps the transparency where it's supposed to but it makes it look like there's crinkling in the leaves why do we do this because they're supposed to be that there now in reality it's supposed to be much more extreme than this right but this is just like a demo scene and we can actually make it look pretty good and different hamburgers have different kinds of lettuce that's another thing to think about so once we have this now we need to think about hierarchy again so first we're smoothing then we want to add in a bit of thickness so again we're doing the solidify which does have the issue from before but we're going to fix it if you recall the solution is adding in a volume in between and we do a special little expression to say where we do and don't want well we're not full screen where we do and do not want volume so i'm going to add in volume let's get rid of the density we needed to be a higher density so we can actually see it and you can see the volume actually deforms with the surface right which in this case is useful since we need the area in between the leaves to move with it you get the point we need the density to only exist in between the lettuce solidify leaves right the way we thought about doing this is if you take an alpha connect it to the density which right now is zero to one so you multiply it by like a big number point is i just want the density to be huge where it's supposed to be so here's the alpha channel and then we want it to be huge uh where the volume is supposed to be but remember this doesn't work it doesn't show any volume because why is it pop quiz do you remember it's because this image texture which has the alpha inside of it is using uv coordinates right if we actually show its coordinate system it's using this two dimensional u and v x and y coordinate system instead we need basically that but with the z axis and that's what generated is going to give us and this only works for planes and very specific scenarios but point is now we have the alpha with thickness where it's supposed to be so i'm just going to make that times a thousand just so it's hyper thick and when we view it like that and the volume and then we put a surface on top of it you can see we filled in the area with which color with the color of the texture and that will you know it might generate a couple issues but it you know it doesn't look too bad especially if you go to uh the transparency passes and bring those up especially for this one if you do not do it so i'm going to go back to low passes it's going to mess stuff up if you look at the wrong angle you can see there's some like black and stuff over here that should be fixed when we whoops not that one when we bring up transparency you see it goes away okay uh so what do we want to do with this so again uh i mean i guess there's you know what before we add it in just let's do the usual just a bit of dressing right so god that's another pun there is a dressing well it's not dressing it's like condiments on a hamburger uh color we connect it to height y to get free normal mapping this is just free detail that will make it look real maybe add half the strength and then for the reflection i mean if it's washed lettuce i guess it should be pretty shiny and you know we could go with the methodology that some areas should have different roughnesses than others but whatever um what were we talking about set dressing set dressing so i'm going to position this here now this part's a bit harder to make look good because we are going to need to do a second pass of proportional editing and the lettuce should be like sticking out in certain areas and not others but we can always reference our image so i'm just going to take our lettuce duplicate it rotate it again it's going to inherit our whole volume situation that we made for it okay so right now it's not looking too hot but don't wait worry we're gonna fix it and then we're gonna render it and have a good time okay so that that's a good start um just to make it look a bit more realistic couple things i would recommend one have it stick out in some areas more than others like you know wasn't a you know properly made burger which is actually realistic because most of them aren't um another thing proportional editing this time set too smooth so don't we don't get the randomness right this is used to you know do an overall positioning of our lettuce just like we did with the bake and then the tomatoes and again uh because we have a hierarchy of modifiers the solidify moves with it so i'm just going to position some lettuce down some of it up i don't know i mean there there is an argument too and i'm thinking about it there is an argument to connecting all the pieces of lettuce into one mesh i don't think it should break anything because then we could just modify it as a one piece uh we do lose a bit of control though but i'll do it just for the sake of this or i'll try it so we take all these we join let's see what happens it might mess something up yes it does why does it mess something up probably because of the volume so good experiment there i guess we're going to do it individually for now so just take those faces bring them down and i think the overall goal uh other than positioning what's going to make this look realistic is a hamburger is like very compressed right there shouldn't be gaps of air in between so we just want this to get as squashed as possible and then if we do some like repositioning and stuff like this it's going to help it look realistic so again mess around with the proportional editing the longer you take to do this probably the more realistic results you can probably get out of this so i'm going to lift some sections up some down and then for the overall object i think i'm just going to move this in a little okay so that's looking pretty good um couple things we can do to the um by the way there's some weird artifacts if you have a reference image in the background of course it doesn't matter but since we're not gonna render that but just interesting a couple things to make it look a bit better let's mess with the lettuce material so the color that's going to base color i want to mess with that so i'm going to do a hue saturation that value situation so now we can you know how bright is the lettuce etc and i guess this should also be going to the volume since it's inheriting it i want to make this i don't know it kind of depends on your burger do i want it to be like saturated or desaturated i think the saturation's fine i want to take the value down a bit because right now it's starting to it right now it's looking like the lettuce is much brighter than it should be in my opinion again we need to bring this lettuce down is our goal we want it to look as compressed as possible uh because that's what physics would do again and we just want to move our bun downwards okay cool we can also execute another trick that we talked about last time so that's the object info so this is going to give us the random it's going to give us a different value between 0 and 1 for each of the objects that have this material there are three users right three pieces of lettuce each one's going to get a number like this and then what we can do with it is we can either vary the hue so some pieces of lettuce are a tiny bit more yellow which i think is kind of a good way to think about it and we can also change value and stuff like that so for example we're gonna do a map range because right now this is zero to one we wanna constrain it to something like well hue is going from like i don't know point four nine to point five one you can experiment with that so the hue which should be 0.5 can go as low as you know minus 0.1 or as much as plus 0.1 and that should just add in a tiny bit of variation it's more noticeable if we go down then you get some like purple pieces of lettuce and stuff like that which is why we keep it kind of subtle uh we can do the same thing again but this time for the value and this is just things that will add in a tiny bit of realism uh we want the value to be centered at point eight uh so we can have them go as low as 0.7 and as high as 0.85 just so there's a variation maybe visible variation but nothing crazy okay that is looking pretty good i'm just gonna do one final modification because we literally have a lettuce sticking out of the thing which ain't a good time there we go and then finally i guess there's an argument for putting lettuce on the bottom as well since i guess our reference does but i don't like i know that's what the reference shows and i guess that's like technically uh correct i've never had a burger where they put in lettuce on the bottom as well i don't know if they're lazy or whatever but this is usually what they stick with so um i think we are happy with this burger at any time you can go back and change any of our procedural settings a lot of this can be uh gone back to and modified like remember just the bun strength is you know something we can go back to the seed variation the sesame seed variation stuff like this but for now i think i'm happy with this so let's dress up our scene and move on to rendering yay let's take a moment to appreciate what we've done we've made a hamburger that looks pretty realistic even from close up i mean we do need to compress it a bit more that's just set dressing but in theory we have a very good looking hamburger and if you see it from not super up close it just looks real the closer we get you know it breaks a little but it's pretty good you know if i was doing another pass of this i definitely do condiments and ketchup and stuff like this but for now let's do some set dressing which i keep saying so i'm going to put in a plane just like a thing that this burger can sit on and i think what i want to do with this scene i'm just trying to pick the best camera angle like which way do we want to render from probably one of these directions so you take the opposite wall you extrude upwards just so it has like a backdrop you bevel it so this is just like a basic lighting setup right you shade smooth so it's kind of like we're doing this in the studio or something like this make sure that's shade smooth do we have a camera we do not so let's make a camera and this is like literally how i do all the renders you see at the beginning of the tutorials i just kind of do this process really quickly it doesn't take that long okay so something like this we can always rotate the burger later i want the camera to be very zoomed in so the focal length instead of moving the camera closer i just want to have it zoom in which also changes like the way the burger looks like uh things tend to look a bit more flattering sometimes if you zoom in rather than come up close but sometimes you could do the opposite effect intentionally okay so we have that and just so i don't see any of the nonsense in the background viewport display passer part out and let's see what that looks like okay cool final things you can play around with the world settings do you want to change the hdri which one do we have right now i think we have the one that's hovering over this is a good time to play with different lighting scenarios different hdris i think this one actually makes it look a whole lot better a whole lot more realistic and remember with an hdri which is a spherical image you can rotate it to get different lighting uh conditions and now the light's coming from this way uh we could have the light coming from above i don't know i mean i guess uh you play around with it but i really like the way this looks without you know messing around with it too much just some basic stuff so uh let's do a tiny little scene i'm thinking like a 45 second render or 45 frame 45 second render we'd be sitting around here for a while but not really because this video is sponsored by a render farm but we'll get back to that in a second um 45 frames seems okay what i want for this animation nothing complicated i think i just want the burger spinning and maybe uh you know getting larger we'll see what we want with that before we do this just a tiny thing if you are done like you don't want any more procedural control and you just want to like set this in first of all just do a save just for that so i'm going to save this i'm going to call this burger final yay once you're happy with this and you know that you don't need to mess around with anything more especially if you send it to a render farm that isn't yet compatible with 2.93 which i think most of them aren't but just to be on the safe side what you want to do is something that uses geometry nodes uh a way to apply geometry nodes because right now if you were to go to the modifier you click apply on this you see the sesame seeds go away uh the way you do this is you type in i think it's called make instances real yeah or you could just hit ctrl a make instances real and that's just going to put a bunch of objects on here which we could join that shouldn't mess with it too much we can join it into one big sesame seed as long as we pick an active object let's try that again so now we have whoa whoa would not recommend that apparently we've we've created a mess um make sure you make instances real this is going to make all of them an object which yes becomes a cumbersome if you have a lot of particles or a lot of points and stuff like this but for now just make sure you do this or render farms and stuff like this will not work and stuff like that additionally we are going to make a empty and this empty is going to control the animation of the rest of this so uh what i want to do is i'm going to go into wireframe to make sure i see everything i'm going to select all these objects minus the plane and then shift click the empty whoops i want to make sure the empty is the selected objects i guess that's control click and then i think you can just do control p parent which is going to freeze for a second because we have a lot of objects let's wait on that there we go now we have an empty and now we should be able to move this around as a single entity which is perfect for animation so what do we want from this let's keep it simple i'm going to let's say on the last frame or no let's say on frame 40. so there's five frames a buffer we keyframe the location rotation and scale and then on frame 0 we want it to like rotate by 180 degrees or you know what let's have it rotate by like 300 and before we do this let's go to solid mode we're gonna have it rotate by 360 degrees just so it comes in spinning in so i'm going to keyframe the rotation i also wanted the scale to be zero um and we could keyframe uh the scale and you can mess around with the location but you can see this is gonna make it look like the burger's just coming out of the abyss and additionally what's gonna make this look super cool is a bit of smoothing so go to graph editor and then you're gonna see any animation we did here if we rescale this our scaling whatever all this is in graph form so if we take this we go to individual centers we can then scale everything by 2 on the x-axis so again i'm just s x 2 scale on the x-axis by two and that's just gonna add in a bit of smoothing to our bezier and it makes it look like it's really popping so here's the uh before animation and then here is the after it's just much more snappy okay um and now that i think we're done with our scene let's prepare this thing for a render farm so uh we finally made it i don't think i've sworn too much in this so i think i think we're good this tutorial this whole series i guess in some sense is sponsored by concierge render which is a render farm that i've used for various projects in the past and i'm using it to show you how to render this so let me show you how you would render a project like this that we've made from beginning to end on a render farm so before just taking this blend file and just uploading it to concierge uh you do need to do a bit of work there's an add-on for this but it's really just like two button clicks so first thing you're going to do is you're going to go to file clean up and clean up all your like unused blocks this is just so that your file size is smaller and we're not calculating for things we do not care about second thing is we are going to go to external data and click automatically pack into blend and you can see packed five files so any image so like the tomato image the hdri any like asset we used for this is now packed into the blend file so we can upload a single blend file to the render farm instead of that plus images and stuff like this and i guess technically a third thing is whatever settings you want here you could change it later on concierge but any settings you want you could you know just set them here so i want i don't know 200 samples i mean whatever you pick your frame rate you pick your render um i think you even pick your file type here although i'm fine with like png and all this uh so make sure you do all that and then somewhere i think for me it's gonna be on the desktop you're gonna have a blend file called burger final yay and just to make sure you wanna make sure that it's like 15 point something megabytes right this indicates that the images were actually packed in right we actually have a file size that's larger than like a couple kilobytes so now let's go over to the concierge render website which there's a link for in the description if you're interested but i will meet you in a second over at the website okay we've made it to concierge render i've blurred out my username and password because you know i don't want you guys knowing that either way you make you make an account you click sign in or you know you make make account uh you're gonna have some kind of balance depending on how much money you put in here and the idea is we are rendering extremely quickly uh for what is hopefully not a very expensive cost now the bigger your scene is of course the more this is gonna cost but for something like this hamburger scene at something like 200 samples for 45 frames it shouldn't be a big deal so this is basically your dashboard how do you upload a thing and get it started so it's pretty obvious you go to upload and launch renders again you want to make sure you've done all that prep work on your blend file or you have the add-on you go to upload files and what are we going to upload well again we do not need a folder because we've packed everything in there if you have a simulation that's the kind of thing you need a folder for right because you have your simulation cache i'm going to type in what did we call it burger final yay click open and it's gonna start uploading and hopefully i don't need to cut because it seems like i'm it's uploading pretty quickly i've upgraded my wi-fi recently i got this new antenna and it's it's working like a charm so burger final yay it's here we're going to go to actions we're going to go to launch render why because we want to launch a render i know it's mind-blowing it's mind-blowing and what it's doing right now is it's basically looking at our scene not only you know putting it on their server but also being like what sample count is it using what uh render settings what render settings is it using etc and you can see that when it's done analyzing we get this menu that we can pick a bunch of options for so first of all render platform i'm gonna choose the newest version of blender that is supported so in my case 2.91 um as long as you did that make instances real thing it's not a big deal or you can wait for geometry notes to be compatible but that's probably going to take a while because it's still in alpha and stuff like this uh pick the newest blunder version render engine i'm using uh cycles so let's just use cycles uh render type this part's pretty important you can actually render a preview um so you don't need to pay anything for this this is just to make sure that it's rendering what you expect it to render um in my case i know we set it up correctly so there's no point i'm going to render an animation and then and then you want to go to the next section of frames resolution etc so we go there we say start frame end frame you can see it's already imported that in successfully however if you want to only render a section of it you could just type in oh only the first 15 frames or whatever but i'm going to do the full animation okay 1 through 45. next we have resolution do you want 1080p 4k native resolution whatever i'm just gonna pick i mean you could either do native resolution which is what we put in our project settings or you could do custom resolution or 1080p i mean in this case they're all the same however if you put in like i don't know you have a very special resolution you might need to put this in manually in my case a lot of these end up working so 1080p 1920 by 1080 and then the sample count we can also change here now you don't need to like go back in and reupload one file with a different sample account number it imports it in i'm fine with 200. i don't need to edit it okay next down the line hardware what hardware do you want to use this is where it gets pretty technical uh point is some some hardware is going to be faster than others but some hardware is also going to be more expensive than others so it's basically dependent on you do you want something fast that's a bit more expensive or slower but cheaper i'm just going to go with the basic thing nothing to think about okay so click render and then let's see what happens so we've picked all our settings it's basically getting queued up and uh here we go render launch burger final yay et cetera and it will prompt us to go over to the job manager so let's do that and you can see and by the way i've rendered a bunch of projects on this in the past which is why you see all of these you're probably only going to see a single one if it's your first time we have our project you can go to view details and it's going to tell you a bunch of stuff about it so for example what kind of thing are we using we're using the basic one and a half dollars per node per hour which is basically saying it's on these machines or on some number of machines this is how much it will cost to run this amount of time in calculation we also have it's an animation type average frame duration average cost and uh right now it's gonna you can see the status bar it's gonna be rendering um and it's going to keep updating the cost of this so i think what i'm gonna do i mean i kind of want to not cut but yeah whatever i'm going to cut i'll be back in like 30 seconds when this is done okay our render's complete how long did it take well it started at this time and ended at this time so it took like 20 seconds um in contrast by the way if i was to render this on my computer it'd probably take this amount of time per frame probably even a bit more so it'd be like 45 to 60 times slower um and this only becomes more and more useful the bigger your scene is with the more frames etc um and you can see um it didn't take a long time it was less than half a dollar is 40 cents and uh usually as long as your scene's not huge these prices tend to be very low so i already had like i don't know 27 something dollars and it's only dug in 41 cents and you can see uh these are all the frames that are done you can either download them one by one like a lunatic doesn't make any sense or you could download all of them at the same time and it should give us a zip file i'm going to save it on the desktop it should download pretty quickly and when you actually play out this png sequence i mean i guess you're seeing the render right now this is what it gives you basically it should be the same output as if or the same output as if you were to that's what i'm trying to say uh render it on one computer but the only difference is it doesn't take uh forever so there you go concierge render is the sponsor of this video and that that's a way to render so anyways thank you for watching the hamburger tutorial series it was a long haul but i think i taught a lot of tricks and i wanted to do it properly with a good blend of proceduralism and i also some like textures just you know basically just ripping images off of google images i wanted to make kind of the most realistic in some sense hamburger that you can make without like photo scanning or photogrammetry or something like this so anyways uh thank you for watching all four parts of the series very cool view and i think at this point i'm a bid you would do so see ya

Channel: Default Cube

Views: 162,181

Rating: 4.964602 out of 5

Keywords: blender, tutorial, course, free, full, hamburger, procedural, geometry nodes, 2.93, volumetrics, material, displacement, vector displacement, modifier, point instance, point distribute, beginner, easy, advanced, vfx, cg, cgi, animated, animation, 3d, 3d model, modelling

Id: pi4wA1L8Q6A

Length: 121min 49sec (7309 seconds)

Published: Sun Feb 28 2021