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

hey everybody what's up it's David RAF here again for I design comm for part two of advanced shader creation and octane today we're gonna be diving even further into Octane's node system and creating some dust shaders throwing mixed materials around in dirt nodes and then we're gonna create a complex bump inside a grungy gold material let's make some stuff all right let's make some dust shaders now one caveat is that I've switched to 3.07 for this part of the tutorial because originally I designed these dust shaders in that version and when I switched to 3.08 things were a little bit different and I'm not that comfortable with a new rubric a derp system which I'll probably release a tutorial on in the future or someone awesome like Rafael rau will but for now I think the easiest thing is for me to just demo this in 3.07 and if you want to follow along 100% I would install that version but a lot of this is conceptual you're gonna learn a ton about dirt and fall-off nodes mixed textures and just the known system in general cool so if you want this shader ball just go to Rafael rau site it's Silverwing - VFX de / free stuff and come down to this small octane material library here and you'll get a bunch of amazing materials that he's generated as well as this awesome shader ball so first I'm going to design a brown glass type material that the dust will then sit on top of so we can just create a new specular material and then drop it on to our shader ball here and so we can see it a bit better let's come to the roughness and just bring that up for the time being cool and I'm gonna go compare store render buffer so that you can see when I go to my fake shadows here and turn that on that's gonna allow light to transmit a little bit better so I always have that on when I'm creating specular materials because it allows calculations to go faster and allows more light to transmit through the material okay next I'm going to come to the transmission and set it to kind of a dark brown it's a little too dark and I'm gonna make it a little more reddish I think somewhere around there is getting close maybe a little bit brighter and then I'm gonna take my roughness back all the way down because we want it to be really shiny and then lastly I'm going to go to my medium here and create an absorption medium and this is just going to suck up a little bit of the light let's jump in here and add in an RGB spectrum which I'm also going to set to a kind of brownish and then I'll come to my density and bring this way down close to one maybe so you can see that's just kind of soaking up the light where the material is thicker okay and now let's create our dust material so if I create a diffuse material here and drop it on I'm gonna start by choosing a diffuse color that's kind of dusty so maybe something like that maybe a little more d saturated I think that should do pretty well and then the main thing here is I want to create a bump so if I go to my octane node editor and just drop in a noise and put that into the bump that should work well now I'm gonna crank this up with a multiply node so we can really see it so I'll drop in a multiply node and then from my float texture here this is the value that's going to crank it up right now it's cutting it in half but all multiply it by four so now we can actually see what's going on and first off this is mapping in a weird way it's using the shader balls UV map so I'm gonna hit both UV transform and projection here and I'm gonna change the projection to box and let's transform this down a little bit make it a little smaller cool and I think that's actually all we need for this material so next I can actually just select both of these that we're gonna mix together and go into my octane editor and it actually shows both of them to me at once now if I don't want to untangle these I can right click and say select hierarchy and then just kind of pull this down I'm actually going to put this glass on top and now I want to drag in a mix material and hook these up to material one and material two all right so now if we take our mix material and drop that and replace it we should see these being mixed together where if I'm at zero here were fully on the dust material and if I'm at one then we're fully on the glass material now the trick is going to be finding a good way to mix between these two so that we're only seeing the dust on the kind of more flat facing surfaces and not seeing it on the vertical surfaces so for instance if we just used a noise to mix between these let's see what this would look like it's up to contrast all the way maybe not all the way and we can UV transform and change the projection to box and maybe we'll make this a little bigger and then we can crunch this down with a gradient but this is never gonna look all that convincing even if we use nice textures it's just not going to get us that far so the big secret with this is actually using the fall-off node so normally the fall-off node acts as kind of Afrin ill effect and we could maybe see this a little bit better if we right-click and soullow it so as we drag this skew factor we kind of choke in the frontal effect or go the opposite direction and constrain it and just to the outermost edges is dependent on where the camera is facing but here's the magic if we choose instead of normal versus array normal versus vector ninety degrees we get this which is more of a slope so we can kind of choke this in until it's just a little more constrained to the upper surfaces here in here and then if we disable our solo node we should see that we are off to a good start we've got some dust up here and down here and as we pull this in we get more and more dust but the interesting thing is that it never fully covers up those specular highlights like you'd expected to see we still have this glossy specular highlight and that makes it feel like the dust has been baked under a clear coat which is not exactly what we want so I think what's going on is that this fall-off is not actually clipping to white until it reaches all the way up here so it's never really covering this highlight so what we can do is we can pull on this skew factor until that highlight disappears but that might be choking it a bit too much and let's check it out and you can see it's never it hasn't really fully disappeared it starts to fade out and then at some point it does fully go away but we're gonna solve this in a bit of a different way and also this is creating too harsh of a line so I like the softer fall-off so we're gonna kind of go back so let's undo back until we reach here back where it looked a little bit better cool so next we want to break this up so it's not such a smooth gradient so what we can do is we can add in a mixed texture so let's pop that in there and let's put the fall-off as the amount and pipe that back in and then our texture - we can just use an image texture and I'm gonna pull in this map that I like to use a lot so it's from polygon comm fingerprints for K and to solve a mapping issue again I'm going to go to UV transform and projection grab these guys and I'm gonna make sure that this is box mapping and I think we're actually pretty good at the default scale then we can add in a gradient here and crunch this down a little bit more and kind of thicken this up and you can see that's already a much nicer result alright so check this out we've still got this issue with this highlight so we can solve it kind of like we did before by taking a gradient and pop in here and just really crunching this down and if we bring back a render region this'll resolve quickly you can see this is starting to this dust is starting to creep into that highlight and now it's really kind of in there but the issue is that this creates this very strong dust that I don't necessarily like so let's go compare store render buffer okay now check this out what if we take all of this which is essentially like the mask for our dust material it's telling our dust material where it should be and it's saying only be on the slope that's horizontal and within that slope let's also only be within certain areas defined by this kind of grunge material so it's limiting it to the slope and then this part is limiting it to just patchy areas based on this fingerprint texture so what if we take that whole mask and say use it as a source for the roughness so we basically turn it into a roughness map for our glass material this is what we get okay that's not what we want but what if we try inverting that so let's just take this invert and drop it on there okay now now we're really breaking up these highlights and at this point I could lose this gradient node and if I let this refine for a second this is what I'm getting which I much preferred this you can see that these highlights are getting like nicely broken up and they feel like there's a layer of kind of grunge on top of them versus this harsher dust which doesn't to me feel as realistic okay so this is pretty close to our final dust material the last thing I want to do is add a little more dust in the crevices and on the edges so we can do that with a couple dirt nodes let's go back to our simple diffuse material here and drop this on so we can kind of see what's going on so if we go to this material we can drop in a couple dirt nodes and this allows us to easily see their effect so let's drag this first one in here and just start cranking on the strength and the radius sliders so you can see this one's limited to the crevices versus the edges so and if we were to increase the details we would pick up a lot of this extra geometry and ugliness so we don't want that and I think that should work okay for the first dirt and then let's grab the second one and for this one we're going to click invert normal and this'll limit it to the edges so if we up the radius and the strength actually maybe decrease the radius you should see that this is now affecting just the edges and so now if we were to combine both of these with a multiply node we would get the best of both worlds and basically have both scenarios existing together so let's just grab these two dirt notes that we've created copy those come back to our overall mix material here and then come in here somewhere and hit paste cool and then we'll just set these aside okay and we want to add these into the mix somewhere in here so it's affecting both the roughness of the glass material and basically the mask for where the dust is falling so let's create yet another mix texture so let's drop this in here and we'll pipe this both into the amount and into here and then let's delete this guy out so we can see what's going on and so let's just test with one of these dirt shaders to start we'll put this in the amount okay I'm going to slow down for a second and do a demo because this is definitely the hardest part of this process to understand what these mixed texture nodes are actually doing and how they're interacting with the dirt and with the fall-off and what what the heck is going on here okay so say I get rid of this dirt real quick and then I take what we had before all of this stuff and I pipe it into texture 1 and then I'll just bring in a float texture here and pipe it into texture 2 and then I'll also pipe another float texture into the amount so we're kind of doing a little science experiment and using the simplest things which are float textures which are just sliders from 0 to 1 so for the amount let's just set this to 1 for the time being and then with this float slider we can go all the way down to 0 so at this point with a slider at 0 we've got full-on with the dirt okay so this float slider here much like the amount in the mixed material this is very similar to mixed texture this amount slider is telling octane which of these paths to follow so if we now take this and slide this all the way down we're getting exactly what we had before which is this pathway and if we slide it all the way up we're getting this pathway so say we were to replace this float texture with this noise texture I've got sitting here so this noise texture would modulate between certain areas that have the full on so this pathway and other areas here which are this other pathway exactly what we had before so it's kind of hard to see because we're only getting certain patches where we can see through to that other pathway so similarly if we were to take this dirt node that we set up before and use that as the amount we would get in some areas the full-on effect and in other areas this other pathway so what if we were to switch these two here and here now we're getting a lot closer to what we wanted which is these areas having the full-on effect and these areas having what we had before now another way we could do this is you would think that the invert normal would do that but that's not true that just selects between the crevices and the edges so we get slightly different effects there but that's not what we want what we could actually do is put an invert node after the dirt and that's like switching these two inputs so that's exactly what we had a second ago so if I compare this store render buffer get rid of this and swap these two inputs again then you can see these two are identical so let's just leave these inputs swapped for simplicity sake and instead of this full-on effect what I really want is a broken up texture there too so what I can do is I can just grab this texture that we had from before hold down ctrl and duplicate it and then I can pipe this one into texture slot one so now you can see we've got a more broken up texture I can also for the sake of just not having the exact same texture take this one and transform it so maybe I want this one to be bigger and chunkier and in between here and here I can also drop in a gradient so let's just do our compare store render buffer thing and if we want this to be even more kind of broken up we can drop a gradient between this so we're really crunching it down and let's take it even further until we kind of lose this texture altogether maybe we need to come this way so let's compare to before now you can really see that we're losing a lot of these chunks and that's a good thing so it feels like a much more random effect kind of spread around these edges so we're going from there to there and if we wanted we could increase the radius of this dirt so it's spreading outwards even more so now we've got these bigger kind of chunks around the edges here that's kind of a cool look and if you remember from before we had set up a second dirt texture with an inverted normal so let's delete this here and I think I lost it and deleted it from before but if we come back to our diffuse it should be sitting right there let's just grab both of these just in case and then let's paste them here and actually this one was the inverted normal so we want this one here which is the regular version so let's just delete this guy and let's set up this texture as well so this looks really cool but let's replace this and now we've got a version where we're getting all this detail on the inside which looks great as well so let's compare that and then let's swap it back so we can kind of see what's going on so two different scenarios both of which look pretty good and remember from before we can just combine those with a multiply node so there's the multiply and combine those two and we're getting the best of both worlds and at this point I'm realizing that the scale of this texture here that's only constrained to the dirt is looking a bit too large I don't like seeing these individual fingerprints so much so what I can do is go back to this texture here and maybe we scale this one down and now I think it's bleeding a little too much on the edges so we can take these dirt textures and take the radius down so we've gone from there which is a little bit ugly to there where we're kind of seeing it on the edges so let's just take it down a little bit not a ton because I think making it too small we were losing it a bit and now let's mess with the radius of the dirt shaders let's just go back to one at a time real quick so let's just bypass this here so right now we're just looking at this one let's take the radius down a little bit and the strength up so it might help to put on our render region and just check out this one region here now this is going to be the crevasses because we're not seeing anything on the edges so let's take the radius up until it starts to bleed a little bit more there we go so now we're seeing it bleed a bit more and I think maybe we're losing this a little bit much because of the gradient as well between here and here so let's come to this and kind of expand this until we see a little more so maybe we had it breaking up a bit too much there we go now we're seeing it a lot more here and I'm realizing that the radius is too large so let's bring this in here we go that's just a little bit of bleed there see that in there and one of those edges so that's looking a little bit nicer to me cool so that one I think is good let's swap with the other one here and this one is a little bit too extreme to so let's pull this in just a hair and let's check our edges down here let's pull up the strength I'd like to actually see it on the edge a little bit okay so that's looking pretty grungy and cool to me let's compare store render buffer and then swap with this one just so we can see what those two situations are so there's the edges and there's the crevices all right so finally let's put these two together into the multiply node and yet again and into the amount slot and this is what our final dirt shader is looking like and one quick last note if you notice before I left off the float texture here so we could put one in there it won't actually do anything if it's set to one and that's kind of what it defaults to so essentially what this is saying is we've got this fall-off map that's limiting the dust to this slope and then we're using that as a mask for just this guy and then nothing so this is doing nothing right here and so that's why we can leave it off because essentially we've got this grunge material that's then masked by the slope so this is kind of this one is subtracting from this and that's what created that nice effect of both the slope limiting to just the kind of flat facing surfaces but also having that kind of grunge in there too I hope that makes sense this one's kind of complex but if you have any problems with it hit me up in the comments and I can try to explain it even more and one more time let's take a look at this in motion and again you can see this one's got that nice highlight break up and this one was before I took the shader further I'm using a different underlying texture but you see the full reflection here whereas here you see it broken up and again that was by piping or mask for the dirt map into the roughness of the glass material see here we can follow these specular highlights and they never get crunched down they don't feel like the dust is over top of them and also for this one I added the bump in and you can really sense the bump especially down here versus here which feels very smooth alright so just a brief overview of how I've set the scene up if we zoom out here and kind of get way far out you'll see it's just a few cubes and then there's one cube over here that is causing some shadows so it's just slowly rotating I don't think the Sun is even moving on this one though sometimes a keyframe the Sun if I look at this here I think yeah if I look at this here it looks like there are some keyframes but I think that it's just flat lines so it's not really even doing anything but just that simple rotation of that cube causes these nice shadows to move across our subject and that slow movement of these shadows across the text has this kind of grandiose feel that I dig another thing I'd like to point out real quick is I'm using those anamorphic bokeh that I showed in my previous tutorial so if you come over here to the thin lens you can see that I've got my aperture edge cranked up to 3 and then my aperture aspect ratio up to 2 and that's creating these nice kind of little bokeh without that it would look like this and you can see that's creating quite a dramatic difference where I think this has a lot more visual interest another note in all these examples have been using path tracing I've just been gravitating towards that lately because it's more realistic and especially with gold you get a lot more nice light bounces so let me undo back to where we had those bokeh going on and if I go to direct lighting on this you'll see how much light that's soaking up in comparison so I definitely like this look a lot better here and it doesn't even take that much longer to render and also I feel like we get a nicer color on the surface with path tracing that's a little more true to this metal just feels a little more magical to me so I've been going for this a lot more alright so I'm going to rebuild this grungy gold material here so I've started with just some kind of orangish yellow color in the specular it's not like physically accurate or anything and for my index I've been using 8 or sometimes I've been using a foam mirror surface at 1 so I guess for this I'll just stick with 8 since it was already set that way and for the roughness it's just set to around 0.9 that way it picks up a little bit more light but it's not overly rough and then of course the diffuse for a metal material you always want it set to black so that's a really simple base and the rest of what we're gonna do is all just going to be in the bump channel so let's start with an octane noise here and I'll drop this in and this is not going to be exactly what I did for the previous material because the previous one I was just kind of chucking nodes all over the place but I found a method that gives us pretty close so for starters I know I'm gonna want a way to mix down the bump and kind of play with that so I'll put in my multiply here and then for texture 2 we want this float here and for starters I'll just leave it around 0.4 now for this noise we can just let's try cranking up the contrast really crazy all the way to 100 now we're getting some interesting results there let's dial it back a little bit and it looks kind of low res so let's bring up the Omega maybe not the Omega let's bring up the octaves and then I'll get us some more complexity and detail so this is kind of a large scale noise and I like what it's doing to the surface I don't like how it's stretching here that's due to improper mapping so let's go UV transform and projection let's grab both of these and with the projection we just want to set it to box and that fixes the sides there I'm gonna leave the transform as is so next we want to take this noise and mix it with some other noise to get some details that are really large-scale and others that are really tiny so let's grab our mix texture here and rather than putting this in the mount this will be texture 1 and then for texture 2 will just duplicate this whole setup hold down ctrl and drop this in and this one can be a lot smaller so let's just take this down all the way to something like I don't know point 2 so right now it looks really messed up because we're blending between those two we're going from this really small scale noise which looks horrible and ugly when applied to the whole surface and then this really large scale one which kind of looks pretty good by itself what we can do better so let's just leave it in the middle for now but remember we want some kind of texture to define as a mask different regions where we see the small clumps and then big clumps so here I'm going to use an actual texture rather than noise though obviously you can use a noise here too so let's grab I've been using this rust reflection glossiness here but you can use any kind of grunge map to do this just make sure it's pretty high-res actually in this case it's only one case so it doesn't even need to be that high-res and then here again we want our UV transform and our projection and let's pull these over here and make sure that this is set to Vox and now to make sure we're getting really defined areas let's also put in a gradient and kind of crunch this up so that we have we know we have some areas that are black in some areas that are white so I can see this patch over here for instance has a lot of that smaller scale noise as does this here now let's play with the transform to see what kind of different effects we get so if we scale this down too far we can see the repetitions keep in mind in general though when you've got textures that look like they're tiling you can use this method with large and small noises to break them up and when you're overlaying noises of multiple scales that can be a really great way to prevent seeing that tile repetition so here I want bigger kind of chunks maybe around there so that's starting to look pretty cool we can kind of zoom in to see if this is holding up in terms of the fidelity and it still looks pretty cool close up some of this might look a little low res so maybe we can come in here and you know boost the octaves make sure the octaves are really high for both of these and we can see what different kind of effects we'll get by messing with this gradient you can see that this will spread out that small noise a lot more so now we're really seeing that small noise pattern which may or may not be a good thing it might be seeing a little too much of it right now so I think we could kind of crunch this back a little bit and we can also play with how much we've got in terms of our mix overall so for all the way up here this might be a little extreme but at some point we kind of lose it a little too much so I think we're kind of good where we were and at this point I'm gonna do the same thing one more time so let's see use let's just bring all of this forward and use another mix texture okay so this is gonna be texture one and then for texture to this time rather than another noise let's try an actual image so let's grab maybe this set up over here and pull this over and then we can swap out for a different texture though already that's creating an interesting result that I kind of like better so I like these kind of bigger areas of darkness and then we get these areas of dusty feeling gold so if that works pretty well let's try then another image for the amount and I've got this other image here and I like this because it has large areas of darkness as well as big swaths of white so this could be cool to create that breakup that we're looking for all right maybe let's try inverting it that didn't do a whole lot so let's play with a gradient and the transform so let's make it a lot bigger to get these bigger chunks and then let's play with a gradient so let's crunch it on down now if I swap these two here I'm getting larger chunks again which is what I'm looking for and if I transform this down we should be able to see some of these repetitions it looks like the texture is kind of getting stretched horizontally so let's scale it vertically I think that's helping so all in all it's just about playing until you get a really interesting surface so you end up with something that looks pretty complex but it's just repeating the same process over and over again I'll show you my other two variations here that I created earlier so here's the one I created today let's drop that on there so we can go compare store render buffer and this is what the node tree looked like on this one pretty similar to what we just did and then I'll delete this off of there so we can see compared to the one we just made so this is the one we just made and this is my one from earlier I think I like this one a little bit better but not too crazy different and then here's my original which is maybe a little more subtle but this one had some kind of ridiculous node tree that didn't even make that much sense so let me show you here so it's got some it's got our multiply it's got a mixed texture and then I put some more multiplies in here so I could mix these up and down and then a bunch of different three different noises of different scales one image texture here another image texture here so I was just kind of going to town on this one and messing around until I stumbled on something cool and one more time let's remind ourselves what this looks like in motion with all the bokeh and the lighting and shadow information all right last little plug if you guys are jonesing for a lot more octane tutorials go to my site Arya visuals comm that's with two V's and then under my resources here I've got a list my David Aria of super mega octane tutorial list where I've painstakingly detailed every person to ever release an octane tutorial that I know of in existence ever so it's a pretty long list and a lot of these are full channels with tons of tutorials so get your learn on and if you just want to see my tutorials you can go to I design or you can go right here and I've just listed out all my tutorials for you right here okay awesome those were three really deep dives into octane shader system and hopefully you pulled some really useful tools so that you can kind of put these LEGO pieces together and use your own creativity to generate awesome looking shaders of your own see you guys later

Channel: eyedesyn

Views: 102,287

Keywords: octane shader, octane shaders, octane render, otoy, otoy octane, octane tutorial, octane texture, dust shader, octane dust shader, octane gold, octane render tutorial, octane grungy gold, octane dirt node, dirt node, cinema 4d tutorial, c4d tut, c4d tutorial, cinema4d tutorial, cinema4d, cinema 4d, c4d, eyedesyn, otoy octane tutorial, learn c4d, maxon, c4d shaders, cinema 4d shaders

Id: ZiDhStKvQgg

Length: 36min 34sec (2194 seconds)

Published: Wed Jan 17 2018