Cinema 4D Tutorial - Advanced Octane Shaders [1/2]

hey what's up everybody it's david raf here again fry design comm for another crazy awesome octane tutorial today we're gonna be creating complex shaders inside of octane and what i mean by that is like anisotropic metal materials some dust shaders is like a film over top of your materials we're gonna be creating some glass and then some grungy gold so all of those should be really crazy and fun a little bit more advanced than usual today so let's jump in and do it [Applause] [Music] cool so let's take a look at a couple of these shaders we're gonna be making today this is the dust shader and it's interesting because it only accumulates on these kind of more flat facing surfaces so when the slope gets high enough like around here you don't see the dust anymore so it's kind of this film that sits over top of the material and behaves in kind of realistic manner and it also like occludes this glass so it's kind of neat that you can see through this glass but then you know the dust kind of covers that up and then the other interesting thing i'd like to point out is that it also exists in these cracks and crevices and on the edges and if you take a look as i play this this brown one i think is actually a little bit more realistic than the pink one i was having some issues with this one and if you look at like the specular highlights for instance they never actually get obscured or affected by the dust so this one kind of feels like there's dust and then there's been like a layer of clear coat over top of it so that's not exactly what we want in this case but if you look here you can see as these kind of reflections pass underneath the dust they get totally obscured so this feels more like a layer on top versus just something that's been laminated over top of all right and this is that grungy gold shader I was talking about I developed this for a recent project and it took some time to figure out but I like that there are all these dents and there are some areas that really catch the light and others that don't so it feels like there's a nice variation in scale and in terms of the quality of the surface but the real place we're going to start today is with anisotropic materials and let me present to you some overly dramatic pots we're going to be recreating this whole scene today for starters but if you take a look on the left this is using an older version of octane where I've kind of manually built this anisotropic shader and you can see it looks more like a brushed metal but on the right here we have from the new version of octane 3.08 a perfect anisotropic material where you don't actually see the brushed metal nature of it so let's jump in and recreate all of this madness alright so I got some kind of hgri sitting here of a church but that really doesn't matter choose whichever HDRI you like but the first thing to do is we're gonna come over here to the content browser and enter in pot and then there we go we got some pots let's drop in this dude here and then the first thing we want to do is convert these materials to octane because obviously it looks terrible so let's grab these and go to material convert materials and the material remove unused materials so now we are all octane materials all right well that didn't stop it from looking terrible but let's ignore the lid for the time being because that's glass and we're gonna do a whole section on glass so let's just come into this material here which is the metal and let's make sure it's okay it's fully black on the diffuse which is good then we want the index to be much higher and the specular to be also much higher let's make this white there we go now we've got a metal material going on and one thing you'll notice if we take the roughness all the way down these reflections are not exactly what you'd expect of stainless steel because they're not stretched vertically so it's not yet an anisotropic material so let me first show you the old model of doing this which actually has its own benefits and allows you to achieve more of a brushed metal look so if we go to the octane node editor here we can drop in an octane noise and add that to the bump and basically all of this stretchy highlight action happens in the bump so what we can do is just add in a uvw transform and coming here to the scale a none tick lock aspect ratio and then on the X scale we can just take this way way down until we start to see this repeat over and over again and we'll just keep on going you can see what starts to happen is we get these kind of brushed metal looking strokes now the issue is the effect is way way too strong right now so he can basically mix this effect down with a multiply node so if we just drop this on this wire here that'll add this in and what the multiply is doing just like an after effects when we add in a value less than 1 it darkens or reduces the effect of whatever we've got so here we're gonna add in a float texture and that's basically just any value between 0 and 1 black and white and it defaults to 0.5 so here we've got half of the effect so it's kind of like a mix slider so as we take this down to lesser and lesser values its multiplying this number by our previous noise so we're basically just mixing it down so you can see now we're getting a much nicer brush metal kind of look I think we can transform this even lower to see a better result here so that's starting to look kind of cool it looks a little too uniform so I find if I bring up the Omega we can get a little bit more variation in there so I'll kind of do a before-and-after here so let's go compare store render buffer and then I will up the Omega so you can see now we've got a lot more variation in our texture so if we want to go even further with this we can take this even smaller and at some point if we don't want to see the brush metal texture we just need to start adding in zeros so let's just add in a zero there and we'll take it even further one more zero to the point where we can no longer really see that brush metal look and now if we mix this down even further you can see if we take it too far we'll just be back to our original but just go up even a little bit and it'll really start to blur out the reflections all right let's duplicate our pot here so we can compare to the new model of anisotropic materials with octane 3.08 if we come over here under materials we've got this new octane metal material and we can just throw this down and place our old mental materials here and when we come to the index we see something new we've got these two values of N and K so n is the index of refraction as it was before though now we've got some kind of slight difference so before when we created a metal material with a normal octane glassy material say we go here and we take the diffuse down to black like we did before our index was somewhat different so if you take a look the material darkens until we hit perfect one and then it becomes a mirror like surface so this is the brightest and most reflective the material could be even more so than eight so if I go compare store enter buffer and I take our index of refraction all the way up to eight you'll see that eight is slightly darker even than one which is a perfect mirror surface so that's kind of the normal index of refraction that we're used to but now with this new metal material model if I uncheck my pair mode here you'll see that as I come closer to one it's just the same as it was but then it comes back slowly to a mirror-like surface so we go from mirror all the way down to two one and then it gets dark and then we come back the other way and it gets bright just like it did before up to eight so it's a little bit different so that can be a little confusing but this is basically the index of refraction so now the new thing is this K value which stands for the extinction coefficient and it basically is similar to an absorption so how far light can pass through the substance before it gets absorbed so as we bring this up this will actually increase the brightness of the metal further so these are complex indexes of refraction and it's just a more accurate model than what we had before and it's super easy to look up these numbers on refractive index info you can just type in whatever kind of metal you want and then you'll get specific numbers for both of these values so you'll get something that match is whatever metal you're looking up much more accurately so that's cool and I also think it has a little more to do with the fernell properties and how these metals fall off on the edges as well okay that aside we've also now got this fancy new tab for anisotropy so if we come over here you'd expect this slider to do something but it doesn't and I found that that doesn't work until you come over to the basic tab and under your brdf model you have to change it to something other than octane see here if we go to the roughness and increase this we'll see kind of our standard blurring but now if we come back and go to Beckman you'll see that this will just start to blur on one axis and right now it's just doing a horizontal axis so we'll have to fix that and also let's take the inset repeat up to one so there we go now we can see it just streaking horizontally now there's a tab for rotation and here we're gonna add in a see for the octane float texture so again just a value between zero and one and I found that here you can see as we go at some point it snaps into alignment and then we've got some perfect anisotropy but I think the value that we'll want is 0.25 0.75 also works just as well so now we've rotated it 90 degrees and if we kind of fly in here you'll see that we can get super close to this material and never see any lines whereas before the difference is if we come close enough we will see those little individual scratches and that's actually physically accurate that you know these striations and a material will cause the highlights and reflections to blur out vertically so pick whichever you want I think this one's like a pretty sweet shortcut but here we can actually get some more complex brushed metal look so if we go back again we can take our transform back up so let's delete some of these zeros and we'll get more of a brush metal look and maybe we take this multiply node back a little bit until the effect is a little more strong so I think this is an interesting alternative here where you can actually see the brush medal all right so let's bring back our lids here and check out what's going on so this glass material is obviously way too rough let's bring that down and then let's go to our index and make sure I don't know let's go around 1.5 or so but let's lift this up and see what's going on with the lid itself so let's grab this one and bring this up and it's still a little too rough so let's bring that further down until we can kind of see what's happening so this doesn't look very semi-transparent to me it's overly reflective and when I mess with the index nothing really looks like it's happening until we hit rock bottom here so it's just behaving really weirdly and this is a problem that you'll run into a lot with octane and glass materials is you have to be really conscious of the way that normals are facing so on this lathe object here we've gotta flip normals and that is going to essentially fix our problem so let's turn fake shadows on which helps speed up the calculations in almost all cases and you can see now the index is actually affecting the image but now we're overly transparent and issue is that the reflection is set to this gray value so let's bring it all the way up to white and there we go now we're actually seeing some reflections and we're seeing some semi transparency so this looks a lot more like glass now so it's a simple fix but something to be aware of and if you had this issue was something that had already been made editable all you would have to do is go and select all your polygons and hit you are to reverse the normals and then you're back to a normal looking glass all right so I've popped these lids back into place they're looking a lot more normal now let's go and make the floor and turn this into your render with overly dramatic pots alright so first let's create a plane and just drop this down so that it's no longer intersecting so something like that and let's try to make this studio setup where it kind of feels like an infinite floor so what I can do is just create a new octane material here let's just create a defuse and let's kind of go back here so we can see what's going on and let's jump into our node editor here and what I'm going to do is just pull a gradient texture in so not Octane's gradient but cinema4d x' gradient works way better with this so I'll pull in these are all the cinema4d shaders here so I'm pulling in this gradient and I'm gonna pipe it into the opacity slot here so we could try a circular gradient and you can see that's causing the center to be semi-transparent and then the edges to be opaque so we can just right click and invert knots and if we go back here you'll see what's going on so we want to kind of crunch this in and then bring this one up so it's clipping to white and we're not seeing any edges so that's good but earlier I was doing some tests and I actually found that linear created a bit of a smoother fall-off so we can do that and then we can just rotate this plane 90 degrees so something like that should work and then let's scooch this over so that these pots are actually on a fully opaque section so I'm doing this so I can create a separation between this planes texture and the eventual sweep that I'm going to put right here so let's actually just go ahead and make that sweep so if I grab this plane and duplicate it I can just kind of scoot it back here and this one I don't need the gradient so let's just put a regular diffuse texture on there and then let's drop in a bend deformer if I hold shift when I click it it'll become a child of it immediately and then I want to increase the strength so I can see what axis is bending on and let's try rotating it 90 degrees it's just the bend - former dance and 90 degrees again that looks pretty close let's keep going 90 holding down shift that's correct so now if we fit to parent we get a smooth curve and then I'm just gonna increase the size of the plane here scoot it back more and the bend deformer can come this way and then I'll give the plane more height segments so that it bends a little bit more smoothly and then lets up the strength here cool so something like that so now these two pieces can be separate you can see one will when they scoop this down one will kind of blend into the other here so but we don't want these pots to be on a semi-transparent section so I think I screwed that up a little bit earlier let's scooch this I may have hit undo so there we go so now this is blending into this let's maybe move this back a little bit so it's not actually intersecting there we go so that's more what I'm looking for okay let's go back to our original angle by hitting ctrl shift Z a bunch of times so that undoes the view on the camera and now you can see we can create two different textures so this one could be dark and the other one bright and there will be some kind of fall-off and the only thing bugging me at this point is this hard line so if I come back into this texture I can kind of crunch this gradient in a bit more and then at some point I think we start to see more of a feathered look so that's kind of what I'm after here okay for starters to create more of a uniform look I can go to these two colors and tie them together so if I go to my diffuse color here I can right click and go to expressions set driver and then come to this material here which is this guy and go to expressions set driven absolute so now they'll just be the same color so I can come back here and you know change this to a brighter color and it'll update sometimes it gets a little finicky unless I go a frame forward and then updates so maybe we'll start with a white psyche here and let's clean things up a bit I'm gonna go to materials remove unused materials so that guy some of those were unnecessary but I know I want this to be a reflective floor so let's come in to our floor here and change the type to glossy so if we come to diffuse here change it to glossy and now we're picking up some reflections and then let's also take the color back down because that helps Flora's look even more reflective and then that should also affect the back wall okay now here's something interesting I'm going to turn off this back sweep you can see how much that's blocking the reflections of the HTR in the background so a lot of the time I like to separate out my environment into a visible environment that's more of a backplate or just one that's creating reflections another that's more of a general ambient light and then also combine the daylight system so you can actually combine all three of those and octane so right now this is a primary environment so it's both creating the back plate and it's casting light and reflections but we could create another octane environment so we would go under objects texture environment so I've got a button for that here and I could just click on this and it would overwrite the previous one because a it's a primary environment and be it is above the previous one so if I put this below then the previous hgri would take effect so let's put this above but instead let's change it to a visible environment so right now it's just acting as a backplate so whatever color I change this to is what our background color is going to be but I actually want the reverse of this situation so let's make this a primary environment so it's casting light and causing all the reflections and then turn this one into a visible environment and now we get back plate reflections and refractions take boxes so interestingly this is still affecting the light so if I brought this way down we would get much more crushed shadows or we could bring it up and give it some kind of tint and then we'd be introducing a bit of red into the scene so if I bring my plane back here you can see how this is affecting the scene so it's kind of a cool control to have and often I just set it to white and then mess around with it when I feel like introducing some color so the third thing we can add in is the sunlight and if I add that in here it will overwrite the primary environment so you can see that this one this is our primary environment no longer has an effect but interestingly we kept the reflections from our hgri so if I were to turn off this hgri that had the back plate reflections and refractions ticked you see now we're just getting the reflections from the sunlight so I'm gonna keep the hgri reflections and I can rotate this around and get some more hard ish shadows and if I want to soften those up I can come to my daylight and just increase the Sun size to something like that so that's a little bit nicer and then if I want to combine this with these other 2h2 your eyes I can come in and I can take mix sky texture so now this will actually affect things so we could have it be a kind of greenish color cast this is affecting things and this one is also affecting things so pretty cool this gives us a lot of control over the lighting I'm going to take this back to white for the time being okay real quick this was bugging me so do you see these kind of ugly striations on the handles this is due to improper mapping it's all set to UV right now so if we go to our self-made anisotropic material here come in here and go to our noise we can click the button for projection and right now it's set to mesh UV so if we go to box it's going to mess things up temporarily so what we want to do is let's um let's go to transform and let's pinch this down even further so we can see what's going on right now it looks like the bumps are going in the wrong direction so what we can do is we can rotate them on Z so let's go to negative 90 I think which makes sense let's go negative 90 and there we go so now we're getting our pretty stripes back and you can see that this is fixed these handles and it's also fixed these handles because I think I've forgot to replace these materials with the one here but that doesn't matter looks a lot better now to me all right now let's take a look at how some simple camera adjustments and a couple lights can dramatically alter the scene so let's hop inside this camera here and enable our camera imager and the new default profile is srgb which is cool but I like for whatever reason this ektachrome 400 xcd though it looks terrible at first usually so I'm going to click neutral response and that helps a little bit and it's too crunchy to begin with so I'm going to increase the gamma so it brightens a little bit and decrease the exposure so play with these two values until I get something a little bit nicer so that's kind of a before and after it's just adding in a lot of contrast really and if it's blowing out the highlights too much there's also a highlight compression slider they can kind of reel them in a little bit so that's kind of nice next I'm just gonna create a light with a sphere so I'm just gonna literally drop in a sphere and I'll scale it down bring it up here make it pretty small kind of scoot it back a little bit and I'm gonna give it some more segments until it's smooth looking and then I'm going to right click and go to see 4d octane tags and then octane object tag and here I'm going to come to visibility and turn off camera visibility then I'm going to create a new diffuse material and drop it on there and jump into here and do the old blackbody emission so there's a blackbody emission and then in my octane camera setting so I can come over to post-processing enable the bloom and just kind of bring up some bloom here so it looks more like a light bouncing off of this but here's the thing I've been doing recently quite a bit so if I go to my blackbody emission under the texture I can add in AC 40 octane Gaussian spectrum and then I'll jump into this real quick and just bring the wavelength all the way this away and the width all the way down the width is really what's controlling how saturated this is so this is a really good way to make very intense like neon lights so at some point it gets kind of really ugly in there and the way you can fix this is by coming to the camera imager and going to the saturate white control and bringing that up and you can see immediately that creates a white-hot highlight and then that rim of neon light so let's mess with the shape of our sphere let's kind of let's hit C to make it editable and maybe stretch it out a little bit so that we get that kind of deal going on and we can kind of play with where it's falling and then I'll come back into this blackbody emission here into the Gaussian spectrum and you can just tweak the wavelength and get all these different kinds of interesting colors so you can get like a red or if you come this way you can easily get a purple and also play with the width I think I'll bring the width out a little bit okay maybe I'll take the wavelength all the way this way and then mess with this until get some kind of blue like that I kind of like this because it's this weird combo between kind of this cyan and this almost purple and then I can come back to my post processing and up the bloom a little bit more maybe okay now check this out with a glare if I increase this I start to get this terrible glare but what I can do is bring this a mountain down to one and then I can change the angle - negative 90 and now we've got basically horizontal lens flares which is the same profile as an anamorphic lens flare and then I can increase the blur so that it looks a lot more subtle and sometimes I like to play around with these controls as well spectral intensity will get you almost a chromatic aberration and the more you increase this the more the effect and then this one will just obviously shift the colors of the effect though in this case I'm really not liking what's going on so I'm gonna keep that off now let's duplicate our sphere across and find another spot for this one I think that works okay now if the image is getting a little too purplish we could come into our camera imager and adjust against that here and one thing I'm noticing is that I forgot to turn off the daylight so things are gonna get a lot more dramatic when I do that and maybe too much in this case so I think I want to adjust these lights a little bit more so let's jump in here and start messing around with these values take the power way down and maybe somewhere around here though even less on the power and then maybe we take down the glare is a little too much at this point so make that a little more subtle there and then also we can stretch out these spheres to cover a little more of the area of the top of these pots here I kind of like that longer highlight a little bit better something like that and I'll just keep tweaking a little bit more I'm liking that a bit more you can really get these crazy neon colors this way but I think I'm going to stick with the blue sci-fi pots cool and here's a tool that I've started using a lot you can see that this section of the image is pretty noisy so I like to turn on the region render and then just put it over top of that and see how long it takes to refine that part of the image so it's kind of hard to see but right now it's at about 3,000 samples and it looks relatively clean so you can kind of come around here and be like okay maybe I need around 2000 samples for this image to really clean up and this is pretty dang subtle but there's a bit of a weird rim along the bottom of this spot and whenever there are issues with light penetrations that come to really small points or weird artifacts I always jump to ray Epsilon and see if that's the issue so I'm gonna go to my octane settings and undock this here and if I just kind of tweak my ray epsilon down you should see it start to vanish so at that point we're no longer getting this issue here so the smaller you make this ray Upsilon value essentially the more accurate the light penetrations can be calculated but at some point you can go too far with it and in big scenes that can create pretty awful artifacts so sometimes you need to decrease the slider sometimes you need to increase it but just be aware that it's there cool I'm gonna go ahead and make that wet floor there are a bunch of tutorials already out on wet floors but this is a method that worked best for me and that I found to be the simplest so let's go ahead and jump into that so I'm going to right click and select this material here alright so here's my floor material the super-easy cop-out way to do this that I often use is just take an image texture and pipe it into the roughness and then we'll come in here and grab something like let's look around something like this material here I'll open this you can see which it is so that might work just any kind of grunge map and let's now hit UV transform and up the scale and let's scale it up even more and maybe let's invert it so that's looking a little bit better it's got some areas that are more reflective than others so this basically just creates a difference of the blurriness of the reflection across the surface so some areas feel like they're way more shiny and reflective and others feel more matte and then we could increase this further with a gradient just drop a gradient in there and we could kind of crunch this down and make it feel like there are pools of wetness so this is easy version and we could also take this white point and bring it down if we want it to be even more subtle so this is more like a wet floor on the whole but then there are a few spots that kind of poke out that are less wet but I'm gonna ditch this idea entirely because I want to do it a little bit better and this is after all a tutorial on complex shaders and octane so I know right off the bat that this is going to be a mixed material because I want to mix between two kinds of concrete floor one that's really bumpy and a little more dry and then the other one that's the wet version of that concrete floor so I could just take this material and duplicate it here by holding down control and then since we're using the same gradient on both I can just pipe this into the pasady on that one and this can control both at the same time and now let's grab a mixed material and drop it down here and pipe both of these into material one and material two okay we're not seeing any change because we have to actually drop the mixed material on there so let's grab this mixed material and drop it on our floor here and also we're gonna need to actually change one of these two materials in order to see a difference so let's make this one be our kind of rough surface so for now let's just increase the roughness and now we can see if we slide this slider one way we'll get a totally reflective surface and slide the other way and we'll get a much more matte surface or much more blurry reflection but we want to modulate between these two with a texture so let's jump in here and add another texture for the amount now in this case I don't think I actually want to use texture I want to just use a noise so let's drop that in there and let's go to the amount right there and we're not going to see much of a difference until we drop in a gradient and really crunch this down so let's put a gradient here and let's kind of crush this until we see there we go now we're getting some pools of water and no water and let's click on our uvw transform here and maybe make it a little smaller so I'm liking that look a little bit better if we go into the noise and increase the octaves we'll get a little bit more of a complex edge as well as the Omega though at that point I think actually gets a little too crunchy and just starts looking kind of grungy so maybe we were actually better off with a simpler noise and if we really want the distinction between these pools to be well defined we could let's just to compare let's go compare store render buffer and then here we could increase the contrast of this noise and we'll begin to see that these sharpen up a whole lot but I don't necessarily like that in this case I kind of like having a bit of a softer edge so I'm gonna undo that all right so now let's actually get a concrete texture in here so I'm gonna drop in image texture and Link it up to both of these two few slots and now let's come and find I've got my textures folder here polygons so polygon comm is what I use for the majority of my textures and I'm gonna scroll down to concrete actually it's this chip paint that I'm gonna use so let's grab this one cool and let's UV transform and scale this down so maybe something like that and for it to look a little more reflective I'm going to take the brightness down so just reduce the power here okay and actually I'm going to want to be able to control the brightness of the watery sections and the normal sections differently so if I create a separate copy of this texture here and link it up to this diffuse that's more what I want but I still want to be able to transform both of them at once so I'll link both of these up to the transform here so now I can actually boost the power of just this section here or vice versa so that just gives me a little bit more control to tweak but I'm gonna leave it the same for now cool and what really sells this effect is adding in a normal map to the sections that are supposed to be dry so let's just duplicate this again hold down control add in the same transform so that they're all identical and here we're gonna hit our little ellipses and then look for chip paint oh for because it's the same one and we'll come down to the normal map and here we want to make sure the power is back at one and then let's load this into our normal slot and we could even boost this super high to like four and now you can see we get a really bumpy surface here and a really smooth surface in areas where we see puddles all right I think it might help to pitch the camera up a little bit so we can see these puddles a little bit better I think that's a bit more interesting and we gonna see what's going on and I think that maybe this section is a little too rough so if we come back here to our roughness the normal map is actually doing a lot of that work for us so if we bring this back down even all the way down to zero we're gonna see that the normal map is causing that reflection to break up and we're seeing a lot more blurriness in that reflection because of the normal map so even just a little bit of roughness I think would go a long way and it would look a little more interesting on the whole and a couple other factors we could play with real quick if you want to see let's go compare store render buffer if we went back to one on the normal we would be looking like this so it's a little bit of a smoother surface so that's up to you I kind of liked that extra grungy surface so I'm going to take that back to four and the other thing I might want to see is if the areas that are out of the water are a little bit less shiny so we could come up here and just take our specular down so that's making a pretty big difference but I don't like losing all these highlights in here so maybe I'll just split the difference cool I'll go with that and you can always come back to your transform and mess with the number of puddles so you can make them smaller you can also take your gradient here and crunch these down even more so let's go compare store under buffer and really make this a tight puddle so you can see what that looks like we could also as we come this way we're gonna create smaller pockets of water and then come the other way and we'll create a whole lot more water I'm gonna undo and go back to slightly larger scale somewhere around there and lastly we could try and create some little ripples in the water so we could do that in the bump channel of the water material which is this guy so if we try and create another noise or maybe let's try it turbulence here let's go to pipe that into the bump you can see that that's already breaking up the water surface now if we want to see what this looks like we can right click and go solo node which is a new feature and sometimes you have to go one frame forward for it to work so solo node and then if we add in a gradient we can kind of crunch this down so let's go gradient and to unsolo this you have to right click in this blank area and say disable solo you can also right-click and now you can disable nodes individually which is great so let's enable that back and now if I right-click in solo this guy we're gonna see this one and this one together and I'll move one frame forward so we get this kind of weird view but as I adjust this we can actually see pretty clearly what's happening to our noise texture and what that noise texture actually looks like so right now we've got pretty big splotches so we could try using UV transform and then maybe we stretch these out somewhat to make it more like these horizontal ripples though that may or may not work let's check it out let's disable this and it's gonna look weird for a second let's move one frame forward there we go so that's looking to digital to me so let's actually go back to what we had before and I kind of liked this broken up warbly surface okay and let's solo this one more time so if I right-click and go solo node we can see what's going on so just to check our controls the octaves increases the detail and then the Omega increases kind of the intensity so those two controls we can just be thinking about and now let's disable the solo mode go one frame forward so that we kind of reset this there we go the last little control I want to put in here is that multiply trick so if we drag into multiply and then we drag in a float we can essentially mix down the effect so if we take this all the way down to zero and we can just kind of for reference go compare store render buffer and now if we just bring this up a little bit you'll start to see these reflections distorting so we can kind of dial this in a little bit maybe we just want a slight Bend and maybe we want a little bit more detail there so it's a little more Ripley and so that looks a lot more like kind of turbulent water and from there maybe we take this effect down even more so it's just affecting the water slightly cool so from here keep in mind we can get a totally different look by altering these colors here so say we want some kind of purply hues going on we can add that in and then we can also turn on the daylight we can mix up and down the daylight so maybe that's too intense we can bring that in so this is kind of a more glassy look though we're losing the puddles a bit so we can kind of rotate around this daylight until we get something more interesting and often the Sun color kind of interferes so you could intentionally control the Sun color and make it something crazy or you could just strip the color out and then we'll have a more neutral scene play with the gamma so that could be a cool look in and of itself and here's another fun tip for you guys so if we go and search for Nick Scarcella Instagram this is one of my online buddies Nick and he's been making these amazing HDR eyes in Times Square and other places in New York City at night I really like these stylistic HDR eyes so if you copy this it's in his gum Road and it's free so there you go zero dollars it's called Manhattanites and you get all these interesting HDR eyes so I'm going to load one of these in there let's duplicate this get rid of our link tag there okay and then I'm gonna go navigate over here and find Manhattanites and let's try one of these Broadway Lafayette station ones and let's turn off the Sun so you can see this a lot better and boost the power so now we're getting some crazy rainbow colors so if you want rainbow pots this is definitely the way to go let's try one more let's go with one of these Times Square ones so that's kind of an interesting look right here okay let's try one more let's go for this 49th Street one here and let's come back up and maybe rotate it around we can also go to UV transform if it's too stripy and we could just kind of scale it up and get something totally different that way and maybe if that's blowing out too much we can drop our exposure a little bit and boost our gamma so I think that's kind of fun you can get all sorts of stylistic looks with these edges your eyes and it's good to combine actual lights with HDR eyes all right one more tweak I found this a little bit more interesting I just rotated it on Y and ended up with this and just for funsies let's look at some of the other renders that I created along the way so these were some of my first ones where I had a layer of grunge over top as well but I'll show you how to do that in the dust shader section here's one of the rainbow Ewan's more brightly lit and then this is where things started getting dramatic this was my previous one I made earlier today pretty similar to where we ended up just now and this was with an additional sunlight pouring in and changing that ambient color on the texture environment to more red alright that should do it for part one but make sure to check out part two which will include all of that dust shader madness as well as the grungy gold material

Channel: eyedesyn

Views: 87,606

Keywords: octane shader, octane shaders, octane render, otoy, otoy octane, octane tutorial, octane texture, anisotopic shaders, octane glass, octane metal, octane studio, octane lens flares, octane hdri, hdri, octane wet pavement, wet pavement, octane tut, cinema 4d, c4d, eyedesyn, cinema 4d tutorial, c4d tutorial, cinema4d tutorial, cinema4d, otoy octane tutorial, cinema 4d textures, c4d shaders, cinema 4d shaders, learn c4d, maxon

Id: OO0DRxRTLwo

Length: 43min 31sec (2611 seconds)

Published: Tue Jan 09 2018