Building Shaders With MaterialX in Solaris | Houdini

[Music] okay so what's going on guys uh today i'm going to be doing a little tutorial on uh some look them inside of solaris uh specifically using material x notes so as you can sort of see here i've got a little sort of production style template where we basically have a top area which imports our assets uh then we have our layer break so that's where the baking of our look file would start and then we've got uh just some subdivision and uh polymesh attributes added just so we know which to subdivide and which not subdivide at render time and then we've got our materials which we've created uh and then assigned into some different variants followed by some lights then some aovs uh and that's why we bake out our look file and then we have our own settings and we're gonna just view it from from here basically so it's pretty simple uh we have got some global settings in here which uh are just some some things which which i've set up to basically help with the process so you can rotate the asset or take the hdri number of light rotations in the turntable as well as some quick settings like um low high medium um and then also choosing between progressive and bucket rendering uh so there are obviously for our final render settings i'm just going to be using the viewport settings for the time being while we do some look devs because it's a bit quicker faster interactions so uh yeah uh let's get started so i think we're gonna start by making a car paint material um but to get you guys into the right sort of mindset of the sort of material we're going to make and the uses for the material and how it applies to production i'm going to show you a different material first so if i set this variant to the skin variant which we can see right here um this is just a pretty standard sort of shader which i've built so if we go into our material library where we built the material uh you can see here that i've just got um [Music] a subnetwork called skin and then i've i've provided some parameters pretty much uh just to be able to edit and uh actually go through the settings and make it a bit more user-friendly because you don't really want to be hopping into this node graph and editing the uh contents and messing things up and then breaking the shader too often um so the only times you probably would do go into the shader is to probably expand expand the capabilities so say for example uh in a shot you wanted to you've got this great skin shader you know obviously on a real example you'll have bump and displacement and it'll be all breaking up but then you don't have a layer for water so say for example the character gets wet you need to add an extra wet layer now this is this is when you would dive inside of this network drop down a dielectric and expand the compatibility of the shader but otherwise for 99 of the time when you're looking the asset uh you're just going to be you know bringing in your textures uh doing some hsv um on it to match close to reference also you know tweaking the rgb values just so it matches closer to reference changing the scatter just so it looks right um and also changing you know the radius um and yeah you know just just generic stuff like bringing the speculars up and down uh bring the second specular up and down changing the roughness multiplying the roughness um and then maybe changing the peach fuzz just so you can match close to reference and usually in a production workflow you'd be given maybe a day maybe five days maybe a week maybe a month depending on the asset uh to to do the look dev for it so you would probably have a base shader which you're given uh you know it just gets pre-loaded in a template and you use that shader and you would basically just match it to the reference because all the parameters have been promoted to be able to do that and then if it is a very specific asset you may need to then add that extra functionality um so i'm gonna show you how to start building these shaders to hand out to your artists um so that they can basically speed up their process so we're gonna be building something like this if you go actually dive in you can see it's very very simple um all we've really got here is just subsurface uh which is mixed with a diffuse um and then obviously the textures with the the hsv so we literally just got a texture coming in here an hsv adjust and then a multiply to multiply the rgb values and then sort of a similar thing for the radius and then a mix between the uh rgb sorry the diffuse in the the subsurface then we're just layering on our first specular our second specular going into a sheen and then we're uh adding uh this into a material surface um and then so and then sorry into a surface then a surface material outputting it and then we're also doing displacement and so on this is pretty standard workflow um so yeah i'm gonna basically be showing you how how to to do this um so instead of using like a principled shader so we are just using these component blocks like the subsurface nodes diffuse nodes to actually build a whole shader for our artists to use so let's start off by creating a subnet so um you can use the material x subnet and basically all that does is it basically packages up these end nodes so the surface material us yeah sorry the surface material uh this this one material x surface and the surface material up into what uh two different nodes pretty much at the end and which output for you so you can see here we've got surface which goes into basically these are the surface materials um i'm not too fond of this uh i don't know why necessarily uh i i just like making sure i've got the control over anyway um because if you are going to be building the shader you might as well have that extra control so i just put down a standard subnet and then we have to mark it for export so we'll call this uh carpent as that is the shader we are going to be doing so let's change our variants here to um to our car paint so we can visualize it um now obviously we've got a different material side at the moment so we want to assign our carpet material now this won't actually display anything as of yet as you can see it goes black because we've got nothing in there so let's dive back into that material library where we're building it and let's have a look so we've got our inputs uh which obviously we've gotten on at the moment um and we've got our output um which is pretty self-explanatory so let's drop down the things that we need at the end so that's the surface which basically just converts our bsdfs into a surface and then we need the surface material which basically converts our surface into a material um so that means we can have our displacement shape there so this basically just collect nodes and we'll just quickly rename these two car paint just so uh we can keep track of everything so we'll plug that in there so that's done we are ready to get started so let's just shut down a diffuse for now uh it's probably not what we're going to start off with but just so we can sort of realize what's going on here so we've got a vr bscf which is going into a thing that's converting it from a bsdf into a surface and then from a surface into a material and then that material is then able to be read so the service can actually also be red but obviously we want the displacement shader so that's why i've kept that there now we're actually going to delete this because if we think about car paint it starts off with a metallic layer so um we're going to get a conductor in here and i'm actually going to change this from the standard ior workflow into the artistic workflow so we can just drop down the artistic ior which basically just means we can put a edge color and a reflectivity and it converts it into an ior and extinction uh just so we've got a bit more artistic control over this so i can literally just desaturate this um and that will give us sort of like an aluminium style metal or chrome style metal um obviously you can use correct ior values or you can use correct um colors of metals but for this we're just going to kind of rush through this a little bit now i have got optics denoiser on if that's where you wonder why it looks slightly artistic um but that's just so we can quickly preview our renders and get the the sort of like rough outline and just so we can start blocking in stuff um as for look there personally i think that the texture is where you get all the detail look there's really just blocking out um the different layers that you need to get the look you want so we're not too fussed about the little intricacies and details obviously we can do a later pass where we are fussed about that but really we're just going to try and build the shaders the base shaders at the moment so let's call this uh let's see what we've done so we need to rename this to um carpent and i did not call that carping i just called that paint so that's my bad there we go that all seems pretty good to me and we can call this into a car paint two oh do i spot carpet wrong i did sorry about that there we go now we can call this um car paint as well and that looks pretty good to me so let's that's just the roughness now this base layer this is the the first layer so like say you imagine when you have a car obviously you're making it out like aluminium or some kind of metal so this is literally just like the raw material which has got no paint on it which is got the base layer and some may say this is a bit overkill to actually start blocking this out but say we wanted a chase scene where we have the car rushing through a city or doing some stunts and then the the pain gets scratched away we can then actually reveal the metal underneath so i always like blocking it out just in case that's needed um and it will just save you some time in the long run so you might as well just do it now i'm going to say this to probably about 0.2 um in the roughness just because i think that's probably a quite a nice sort of thing where it's slightly rough if it was a scratched away it would be quite rough but you're still getting some nice specular response from it so i think we'll probably stick with that um and i think that's probably it for this layer for now it's nothing complicated once again we'll get all of our details from the texture so this is just the shaders we're building right now um so let's add the next layer so we'd have a primal layer which would pretty much be a diffuse um now it would probably have a specular lobe it depends if we're fussed about the specular lobe uh do we want to render it because it will obviously be quite intense um so it's really up to you uh what you want to do now one thing which i have noticed is there's no mix really for this layer um so you may have to use a mix um which is slightly annoying but uh it's actually the correct way to do it so you you really want to be mixing uh the diffused transmission subsurface conductors refraction and emission uh actually i mentioned you use additive but um you want you really want to be mixing those and then the ones you want to be stacking uh or layering is the uh basically dielectric sheen um and coats which is once again just another dielectric layer um so realistically we want to be mixing these so let's grab our conductor and we'll put this in the background and we'll put in the foreground our nice diffuse shader which by the way will look very boring there you go that looks a bit like a primer um which you'd have on on a car so usually it would have a bit of spec we'll do it just because i guess if we're building it physically accurate we might as well add it so we'll just get rid of this bsdf bit here and we'll just call this uh we'll call this primer and we'll call this primer as well and you know what i may actually just because this is so long let me just do defuse sorry mtlx diffuse underscore primer just because we can still see it as uh that kind of um diffuse anyway so it's not too much of a fuss to get rid of that and that looks pretty good to me so far we want to try and keep it somewhat ordered as we work just so we don't get lost so yeah let's start layering this up now these would be layered so you're going to want to layer the top and the base so we have got that the wrong way around of course because the dielectric is the top layer and the base is the diffuse and if we view this um you will see what looks like a glossy gray shader and realistically the primer to fuse coat especially if it got scratched off it would be quite high in roughness um i'm not saying super high but it won't be this shiny clean so i think maybe around about 0.25 probably is where we want it that look quite like a primer layer so that's what what you you'd expect from a primer uh so we'll call this layer primer and we will call this one uh i guess we will call it the primer [Music] uh we'll call this one metal actually because it's not carp paint this is this is the metal layer um so i will do that so i just want my mouse over there if you were wondering what that noise was um and then yeah we will call this primer metal that way it's pretty self-explanatory what it is it's mixing the primer and the metal so um we will plug this one in here and we will plug this one in here now this is a bit of an issue with the bs yeah the bxdf um sort of system inside of houdini at the moment with material x um if you have it on zero and our zero should be the metal uh because it's the background you can see that zero actually doesn't set it to be the background but if we do 0.001 it will actually do it now i'm assuming this is just an error in the code at the moment um so i'm going to submit a ticket about this because all of the other modes which aren't the bsdf mode so for example the just the standard like mixing modes for like floats and colors this doesn't happen it's only with the bsdf so i'm assuming there's somewhere in the houdini code um or the houdini implementation of materialx they've they've made a bit of a mistake here um but no doubt side effects are great for fixing the stuff it'll get fixed pretty soon but for now the way i've kind of found a bit of a way around it is you just get a float obviously you could put 0.01 but it's not very user-friendly so uh you put down a float so we'll just get a constant um to get the float so we can set this to float and then we plug that in and this is set to zero and magically it just works so clearly under the hood it knows what what's going on it just seems that zero for some reason is set to one um inside of this shader when using the bstf mode which which doesn't really make too much sense but it doesn't matter because we have got a way around that and now we can sort of mix this together so this will probably be mixed more towards the primer obviously um which our parameter is number one so we probably want about 0.9 um maybe 0.8 and realistically it could just be one if you wanted to if it was a full coat gone all the way over um but i like to still bring a little bit through because naturally some areas are gonna be splodgy and just as a general thing you probably do want to bring it down just a little and it does make it look like a more complex shader so you feel those layers building up which is quite nice so i put that just at 0.9 um which i think is is pretty fair uh for this shader so now we've got our primer layer layer in we can now start doing the fun part which is the color so the way i like to think of car paints is this there's really two kinds there's a diffuse and there's a metallic now the metallic ones usually tend to have flakes in unfortunately material x doesn't support any uh flakes at the moment and it also doesn't have any osl support inside of houdini um which is a bit of a bit of a shame because obviously you could then use flakes and it would be absolutely amazing i'm not too sure if there is a way around it um but i guess that's something to come in in the future in the meanwhile you will have to use an image texture unfortunately i don't have one on hand at the moment so we're just going to use um a standard conductor um which is totally fine because you would use that just you plug the flakes just into the normals anyway of the conductor uh to get that flake break up um but yeah so basically as i was saying you've got either metallic paint or a bit more diffused car paint so for the diffused one uh we would just have like a diffuse uh bsdf here and we'll call this diffuse underscore base uh yeah bass actually and then we'll just drop down a constant because we want this color to be controlled quite easily uh because it's going to go in a lot of places so we'll just do this and we'll set it to color and then i'm going to find a nice sort of car color i kind of like red so maybe if we do something like i'm kind of feeling more around this area it's not like that that's that's sort of a nice car paint color uh so we can just plug this straight into our area here and we can see what color it looks like yeah looks like looks like a car paint color and then we can just get a dielectric and we'll layer these obviously of course so we'll grab that and we will then also set this to base and set this to base just so we've got a good naming convention and we can obviously use um backdrops to sort of tone this up a bit later once we've got it all sort of laid out but at the moment we just sort of like i guess still working things out um so we've got that layer and once again i've done it where i put the wrong way on first there you go and so the way this would work is exactly like this this would be base and we would probably have this as quite a high roughness so this would be probably about 0.35 maybe maybe all the way up to point five uh i'd say that's probably about right maybe maybe we'll go a bit higher i'm feeling that's a bit too diffused now so maybe we'll just cut it in half and we'll go point four yeah i think that's about right now it looks quite rubbery obviously uh and that's because we haven't got our second layer so um one thing you can also do is you can you can tint this which may help with with the look um and then we can then add a dielectric on top and this is basically like a coat so do that and we'll lay this on now one thing i will actually do is it tends to be that uh if we drop down on hsv it tends to be that the uh specular tends to be a bit brighter so putting that in we're not getting any any actual oh there we go in out there we go and now we'll just bring these all up to one oh sorry bringing the saturation out to maybe like point maybe two we'll try to maybe a bit too much um and then we'll bring this up to two which would definitely be too much let's turn to zero sorry so we're actually too rough here at the moment i'm not seeing much change so let's go into our dielectric that was this point two we'll set this up to a value of one now we're really getting something going uh it's not what we want but it is looking a bit better so maybe maybe if we try putting the roughness to zero we can actually see what's going on here right so that's looking a bit strange at the moment if we hsv adjusted it to white we're getting the specular response we would expect um and that's why it's because i adjusted this so let's bring that back down again and then we'll bring the saturation up here and then makes this to 1.5 let's have a look how much wiggle room do we have we're currently 1.2 so we could do that by two to be honest and that looks quite cool uh and then we can um go back into our dielectric and scale up the roughness to maybe 0.2 0.2 um which looks kind of cool so i do like how this is looking but let's plug in our base and then our coat and see what it's actually looking like with a roughness of zero on here so we're still we're not really getting that total car paint feel even though we're coloring the spec right so it is looking like a car paint plastic to be honest is is actually looking like a more plasticky car paint uh which is exactly what we want um but i think we could go a bit further we could probably if we bump that up that's looking a lot more like it and then there we can really see it is looking a bit more like a carpet where we've got that fall off on the edge um but it's still not quite there um so i think what we're gonna probably do is we'll revert the saturation down to one and the brightness of this we may set to two and that'll just be our plastic layer um we then can add a extra additional layer to this which is quite common where we will have a conductor so we'll just use basically the exact same sort of things here so we will just use the constant base color in our we have to use the artistic for this so we drag that into the extinction and then plug this into the base the reflectivity and this into the edge color and then if we take a look at this now that's looking quite cool but obviously it's looking very very it's not looking rough enough so let's set this to 0.3 so 0.3 oh that's looking like a car paint so what we can do now is we can actually toggle between our more plasticky looking car paint like you may get on um you know as a standard standard car you get and then sometimes you can pay more for the uh the metallic car pain like this so we can set up a mix um for this where we can then basically say right you can pick between um of course we're going to need our constant here because the float doesn't work between zero and one for some reason at the moment so we can then just plug this in so all this is doing is don't need this here so this is the material layer base i think we need that um let's have a look what's going on here so it's this dielectric base ah so we sorry my bad i deleted something by accident um we need the this is why i should keep things a bit more organized because i was plugging things in all over the place but i kind of lost where we were this actually needs to be yeah in like this and this so this is our base and then this is our background like that so now we can mix between the two so obviously we'll call this um diff metal i'll call this death metal and we set this to zero like magic it goes plasticky um and then let's just have a look again uh it's hsv i think we could push it um what we may want to do is separate out these a little bit so let's get another hsv we'll keep the constant color plugged into them all but i think we should do one for the metal one not for the metal so let's maybe push this to three and list five so let me just make sure that what we're doing is gonna work correctly the value if we did that times five that would not be too great so i think the maximum we can do is probably about three i mean realistically we could yeah we could do i think about three is probably about right and that way we won't get any issues in the shader and then the saturation uh i i'm gonna probably put let's look at what it was at one it was a zero it's looking pretty plain isn't it two i'm liking two so i've got one again mmm a bit plain i think we'll go too that looks quite nice so that's basically just setting this to saturation of two now that may kind of break the physicality i'm not too sure but hopefully it doesn't look too funky um and then we can then go back into the mix which we've got here and just set this to 0.5 and there we go we've got a car paint shader which i i think looks like a car paint shader it looks uh it looks pretty realistic so obviously we've still got this this primer metal bit which we didn't really use now we're going to mix this as well so let me grab a mix and see where best we could mix this now got the diffuse it would realistically be mixed with this so it would be the background and this will be the foreground and this would go out now once again realistically we would have a scratch map because you'd have probably one for the scratches the area or in this case one would be the actual carpet itself and then the scratch will be black zero which would then use this primer metal and we'd probably play the same map into the prime metal as well um but if we really want to we can actually sort of mess around with how this would look now obviously we probably want this about 0.9 maybe 0.95 or 9 8. and that way we're still getting a bit from that previous shader but it's just not a huge amount now this may be a little bit overkill and expensive to render but it saves you for when when you do need the maps and also i think this does sort of reduce the saturation and shallow the material out a bit more it makes it look a bit more realistic um it's not too vibrant and saturated now i think i will probably go to about nine eight so we've got two percent of this coming through um but i think that looks pretty good and we then also got a directory now realistically this would not be totally clean it would probably be about 0.01 roughness and you can put in some nice sort of break up into there but i think i'm pretty happy with how this has come out um so let's have a look from a bit further away seem to be getting some very bright areas over here um this is really really catching the highlight so i'm assuming that would be our dielectric coat let's have a look yes that is that's to be expected then that's not abnormal it's just clearly very bright on the lighting probably something to be aware of um but yeah that looks pretty good to me i'm pretty happy with with how the shade is looking now obviously like i said we could put some flakes in there to really get it looking next level um but at the same time we may not want to and i may actually mix this back a little bit so i can't remember was zero diffuse yes maybe a 0.7 we'll get more metallic won't it yeah i'm just trying to think whereabouts we could take it 0.3 looks nice more like a normal car this is more sports car i guess 0.6 0.45 just to mix the two could just go fully one see that's very very sort of um you do see some cars like this but they're pretty pretty rare usually there is always a diffuse element sort of mixed in because at the moment this is pretty much all just specular um actually i think it is pretty much all just specular if we go into our render settings let's have a look if it is there's no diffuse there at all it's all specular so we we probably do want it to be around 0.65 i think that's a pretty fair amount um and i think that you know is a seem to have closed my uh my work area which it did not mean to do um i'm just gonna quickly reset my solaris it's gone away there it is right um so let's go back into beauty i yeah i think that's pretty good you know we've got a good diffused contribution we've got a good specular contribution overall it looks really nice it looks like a car paint shader um and you can see now this is quite messy uh so we can just tidy this up in a little bit so these nodes are literally just the out nodes so we can just group these together i like the out to be black just because it really kind of contrasts against the node so you know right this is it's the output uh material layer so which one's this this is the coat so we can cause underscore code so yeah that looks pretty good um so let's probably bring this up kind of get these aligning a little bit there we go and then this is going to be a bit annoying to tidy up so let's have a look that can go under there we may need some dot nodes uh actually coming just all click there we go so pull this up oh let's bring that back in and that's it there we go so let's do that and that it's quite good very readable pull this out a little bit what we can do is actually pull this up quite far and then i'm quite happy with that so what we can do here is we can now sort of just tighten this up so let's call this one out i'm gonna call this one um coats make this a nice color so actually we'll keep red for the other one we'll wait we'll keep this is like a gray or a white um so this one is our metallic i think and this can be red and this is our other this is our other one which diffuse this can also be red now this actually contains the mix note between them so that that should not be in there it should be out here like that and then we can sort of pull these over like so and we'll pull this all back because this is otherwise going to be quite um we'll just call we'll grab all of these and just please base i feel like that works quite well for it as well that color so that's looking pretty nice we can now sort of easily define where's where what's what so i think that's a pretty good job now we're going to want to probably customize this a bit more um with inputs and a user interface because we don't want to be diving into this each time so i think it's probably time for us to start making a little bit of a user interface for this um now let's go into the car paint here and we'll just quickly edit parameters um and yeah i think that's pretty pretty good so we'll now come in here and actually i'm going to just quickly rename these so this is the mix between the metal and the primer so i'll call this or base or color primer oh got catwalks on that this one is diff metal that's already named bass bass bass uh what's i call this one i didn't let's name these um italic yeah that works well i like bass so i should really keep the naming convention same and then base or what we call this yeah i guess color and primer that works um nice that's all tidy now let's start with the interface so we've already got this color node which is great so we can pretty easily bring this across now you can even drag it like this across into here and that that literally works we can literally just call this car paints color and then in here car paints uh color so there we go apply and accept now if we come out here you can see you've got carpet color here so that's working really good so let's just continue along with this sort of logic and um continue to do this so what are the main parameters we're going to be wanting to use here uh i think it's probably going to be the mixes between the metal and the diffuse um and probably also the roughness value on the layers so one thing i may actually do is to keep consistency i make keep roughness on here this is 0.3 the reference in the dielectric is 0.3 so considering they're the same we might as well set this to a float of 0.3 and then plug this and as roughness um so we'll call this spec reference because we've got another roughness of coat roughness layer so we'll plug that in there uh we will plug this in here now it's not the most tidy in the world uh but it's what we're just gonna have to do for now um and we can then now go on to um trying this attribute so we can just pull this across and we'll call this one spec roughness keep the name parameters similar so it makes a lot of sense you can see now it's just basically pulling the attribute uh or the perimeter open and you just use an expression to link it to it and we'll just bring in this one um so yeah let's use let's use roughness here we'll call this coat roughness nice now the ior probably not going to change the tint we're probably not going to change the weight maybe good to dial back the weight so i don't have coat weight here just so in shots we can actually dial back the amount of the specular and i think the same probably applies to the specular so let's find the specular weight i'm actually going to drag this above and then there we go so unless you just name the parameters here is nothing too special uh hopefully you're getting the gist of it um and if you're wondering why it's not dating here it's because we're not on the right layer so if you come up here now you can see you've got car paint uh specular weight specular roughness coat weight coat roughness so for example if we just come in here and we turn off the specular weight the under layer of the specular is now gone uh although it's it's technically not because it's in the conductor as well so uh let's let maybe the co-reference this one the coat wait there you go you can see the coat's gone now um but yeah the roughness i guess if we set this to one you can see now we've got rid of that that's three that's that's where we're at um and then obviously we can up this now i i don't like how this parameter's got two uh two things because it's not a float um or it's just two floats so i'm going to probably i've got into the wrong material there i'm probably going to come in here and adjust this so where's that the roughness let's actually delete this and then we'll delete the specular roughness or sorry coat roughness and we will grab a constant and we'll just turn it into a float and plug it straight in i think we're on 0.01 um and then we can just drag this right in there and call this spec coat even roughness there we go accept and pop back out and see what happens so we can now change the code roughness yeah and then we can reset the reverse default i will let you go back to what you originally set so it's really really great like that um i think we're pretty good for this this is probably all that you want we probably want the conductors stuff too um which may be a little bit difficult oh we want the mix that's a big one we want the mix between metal and diffuse so we'll call this metallic because that's a parameter which is quite common in shaders and all of the calculations basically done under the hood because we've we've set it all up like so it should so it should pretty much um so it's not just as simple as like a standard metallic shader because obviously i guess it is but um we've also got some cool things going in there like the effects the color make some areas more saturated so we have got a little bit of processing going on in there and also one thing that i don't like about some of these sliders is they do do this where they're all the way up to ten so we want that to be on one we want that to be on one we want this to be on one and they actually lock these between zero and one for the roughnesses and we should probably do that for the metallic as well um yeah once again zero on one welcome one car paint color range that's fine um so apply now this way we've got it exactly how it should be so if we put it to one it'll go to one if it's four i accidentally hit four then on my keyboard it goes to to one so you can't go over the roughness um we can literally tweak away this forever and we can just revert to defaults and and it sets a whack so if we go to zero see now we've got our plastic shader 0.65 we've got our other shader uh sorry oh we got our mix and then we got one it's our oh just a metallic shader so i'm thinking right now obviously we can't really adjust the weight or you can't just the weight of conductor so maybe we should do that um so just so if it yeah if it is a bit um a bit intense in shots we can scale it back sorry i just struggled there a little bit for that for some reason um it's like wait that's hello there we go so that way we can say for example it's like oh well the metallic's shining a bit too bright we can just say this is like 0.6 and it's still there it's just toned down a little bit the same with the with the other ones so realistically we want the metallic weight above them all uh it's coatway specular weight and we can now separate these out into different um different compartments or different sections so i think that's pretty fine in terms of everything else i'm pretty happy with that um i think the color is pretty good i think that i think that works it should work pretty well um so yeah let's let's start organizing this a bit better so you can get some folders in here um drag this in here we'll set the name to color or color in lowercase and color higher case and we'll set this to collapsible apply that we can actually come out now because we've done that but you can see now here we've got a collapsible little menu um which is great so we can then do specular and once again specular and make sure we hit tab great and then folder again for the coat um so maybe if i get rid of this i wonder why the folders now don't let me edit the name strange oh it's because it's not collapsible yeah there we go so um we want this to be called coat so realistic i think the metallic should actually go below the color and then and that's pretty nice layout apply co specular uh we need to make sure the specular is collapsible and apply that and it looks pretty nice uh and then i i think this could technically still stay stay here um maybe it shouldn't actually i think just to be super clicks otherwise it may confuse smartest we'll call this metallic um i'll actually copy that and then paste it and then get that smaller grab these put these in i i think this isn't this metallic thing isn't particularly uh or maybe i do metalness so let's see if there is is there like a metal this parameter in a shader surface metalness yeah that's that's that's a term and that is pretty much what it does it does indeed go from more metalness to less metalness so i guess i guess i'm pretty happy with that terminology um and we just need to quickly adjust that because i've just noticed there we go now now that they're all collapsible they're all the same they follow the same structure and what you can do is you can add a little text bits and like all made by whichever artist just to give them a bit of a bit of credit um or you can really do as much as possible really um with this so one thing which is obviously quite cool is we can really now iterate out a load of different sort of colors quickly you can change it there's blue green and obviously like for some of these colors they're quite bold and out there like these would need to be toned back a little bit so maybe this one's a bit less less metallic because it's only really like sort of reds and blues where you get these super super vibrant sort of um ones like this so yeah maybe maybe we can we can edit some parameters um so let's try let's try like a a goldish sort of shader so it'll probably be more towards the orange thinking from most car paint shaders i've seen oh sorry car paint materials i've seen not everything is a shader real life is not a shader um so 0.2 oh i have accidentally created something there so let's look at it with off no metalness and obviously we turn off the metallic way it will do nothing um i feel like it's too bright so we can bring it down a little bit maybe it's too saturated as well that looks more like it i've seen many cars in this sort of like goldy brown color it's probably around this obviously you probably match it rgb value wise to to what you've got in play or in shot but you can get pretty close to it maybe 0.2 sort of help it out um 0.3 that looks somewhat like a car paint shader which i've seen about um one of my friends had a car which was this sort of color so um yeah if you know you know um but yeah awesome i think you know if we could uh get some flakes in here with some image textures you obviously have that extra flexibility but um and more level of detail but uh yeah i'm pretty pretty happy with how this has gone so i'm gonna quickly just revert this back to default um and we can then go through our camera and see how it looks yeah i'm really liking it so let's let's just rotate it through a couple of yeah it's looking really nice and then let's maybe irritate the lighting yeah let's turn on some optics noising yeah that's looking really nice it's looking like a car paint shader which which is good um so yeah i think that's pretty much it for this tutorial uh one thing i probably would do if i was using this in production the specular is looking quite high that's probably because of the lighting as well but i'll probably test down to about 0.4 um oh sorry not not specular uh the coat weight to probably about 0.4 and i feel like that'll probably be more realistic to to the real world um as that specular was coming off a bit bright it's almost like a brand new clean car so yeah i think that's uh it's pretty good and i hope this tutorial has been useful um it was probably quite a in-depth one specifically for production um but hopefully you know this this is uh explain some things um or maybe confused you more um but you know it is um yeah if you've got any questions put something down in the comments so i read them all uh i tried to respond to as many as possible um so yeah if i were you uh you know give this a go like the materialx system um which has been introduced is just so great um i really haven't um you know gone back to using the principle changes just because this is you can build your own material libraries up in your own way with your own custom custom parameters and uh it's just really powerful so uh i totally recommend it and uh yeah i know it's been a bit of a long video but hopefully it was useful and uh thanks for watching guys if you want more um then just like comment down what you want uh video wise and drop a like subscribe and um yeah you can always get in contact with me in the comments or on my twitter or on discord so yeah thanks for watching

Channel: Hypershader

Views: 19,007

Keywords: Visual Effect, VFX, Tutorial, Maya, Mari, Substance, 3D, Arnold, Arnold Render, MtoA, Hypershade, Houdini, Karma, Solaris, MaterialX

Id: FVmFFn7EPdA

Length: 58min 27sec (3507 seconds)

Published: Thu Jan 06 2022