Create this Ghost in the Shell effect with Blender 2.8 cloth simulation (beginner friendly)

what's up blender heads if you've never seen ghost in the shell' I highly recommend it personally I prefer the animated version but the live-action ones you know it's okay in the in both of them there's a sequence kind of at the beginning of the movie that's so basically assembling the main character she's this kind of robot cyborgs thing I don't wanna put the clips into the video itself just because I'm afraid of YouTube copyright robots coming to get me but I put the links in the description so you can have a look at both of the sequences from the animated movie and the live-action but essentially what happens right at the end of this sequence is that she kind of comes up out of this vat of white goo and then all the white stuff kind of flakes off her and floats away in this really kind of beautiful way so that's the effect are we going to create in this tutorial today if you follow along with the steps you'll end up creating something like this [Music] so to get started we'll need to jump onto the wiki human project I'll put a link down in the description and we're gonna use this head scan that they have here and what you want to do is grab this Olympic scene here and also grab these textures here okay so in blender let's press a to select everything X to delete and then we're just going to go in and import our Olympic so grab this Emily - one olympic scene and we'll hit import and if we zoom out here we might just right click actually select her head right click go shade smooth we're not going to use these eyelashes so let's pick those and delete them all so we might just do a little bit of cleanup here there's a bunch of empties so we're just going to get rid of all these you can see the empties are the ones with the kind of a cross symbol on them you measures here have a triangle so we want to just pick all of these meshes just holding down shift to select all of these and then hover our mouse over in the viewport and push alt P to unparent and we go to clear and keep transformation and then we can just go here and delete these empties right here with X to delete you can also just delete this M I clicker I think it's called so you can just get rid of that one as well now let's rename some of these just to clean things up a little bit just press f2 and rename this head mesh and we're just going to rename this collection as well double click in the outliner here and let's just call this collection head now just push a to select everything and we're just going to rotate this head so that it's facing upwards so we just do our X - 90 and it will rotate to face upwards like so you just want to make sure also that your rotation point up the top here is set to median point if you have some troubles rotating all of the objects all at once so now we're going to create the object which is going to be you know the flakes that kind of come off of her face so we're just going to duplicate her head with shift D push escape so that it doesn't you don't move it to another location and then with that head mesh selected here just press em and say new collection and we're going to put this into we'll call it a sim collection and we'll hit enter on that now with that done we can click this checkbox next to the head collection and turn everything off so we're just concentrating on the stuff that we're simulating here and let's hit f2 to rename this one and we're gonna call it flakes now you'll notice if you zoom into this mesh here inside of her head we've got this kind of mouth bags and eye bags and stuff like that so we want to get rid of these because we don't want stuff kind of flaking off from inside of her mouth and getting trapped inside and so on so easiest way I found to do this is if you push tab to go into edit mode make sure you press number one to be to go into vertex mode and for the mouth you can actually just pick this one vertex here and then ctrl number pad plus and then just expand this selection out if we just keep pushing control number pad plus until we start to see some vertices kind of coming out of her mouth like that if you go a bit too far you can push ctrl number pad - and just bring that back so something like that will do and let's just go X delete vertices and then we want to do something similar for the eyes best way I found to do these ones is if you push three to go into face mode and then you can alt click near this edge of one of the faces so if you I'll click on that edge it's gonna pick an edge loop that goes this way if you alt click on this edge you're gonna get an edge loop that goes sideways the trick here is just to find an edge loop that doesn't go crazy like this but let's just try and find one that kind of just loops around the eye itself so that looks pretty good that one there and let's just go X delete faces and then what you can do is with your mouse hovering over this inside part of the eye you can just push L and because you're picking this kind of linked mesh here it's actually been disconnected from the rest of the mesh and so that just makes it easier just to pick that inside and X and delete faces so repeat that on the other eye and now we can just tab out of edit mode and that's all ready to go so next we're going to add a subdivision modifier so let's just add that here but I might just expand this a bit so we can see things a bit easier we're gonna add this but we're just gonna disable it and we'll probably just leave it disabled for the tutorial but it's kind of just there if you want to add some more detail to your simulation later you can have a play with these settings but generally you want to make sure that whatever you've set in your render levels is also the same as your viewport levels if you're going to use this modifier but for the time being let's just close that up here and so next we're gonna add a displace modifier and what we're gonna use this for we usually put a texture in here and you can kind of do a bit of a displacement map thing but we just can actually use it to kind of offset our surface in a non-destructive way so if we bring back our head collection here by clicking on the check box if we go shift Z to go into wireframe view and I've just gone to a side view here with the tilde key you can bring up this menu and just pick like a view here otherwise you can just use the number pad the various number pad keys will also take you into the different side views and front views and so on and so we're in wireframe mode here because we want to just check this distance here we just we just want to add like offset the surface just a tiny little bit from the actual surface of the head so I find a strength here of 0.1 does a good job but because this is just going to be part of the modifier stack this is totally changeable later when we've done the simulation and so on so we can actually keep this whole simulation thing the whole setup non-destructive and this is a really great way of working because if you find something you want to change again later it just lets you sort of go back and change things rather than having to kind of rebuild the setup every time you want to change something so let's just turn the head collection back off again so we can concentrate on this again tilt key and go view selected shifted to go back out of wireframe mode and we're going to create a particle system so if you go into your particles tab here and just hit the plus button this will create a new particle system and we're just going to change a couple of settings here for number we're just going to start with 500 here our frames start and end set them to 0 and so that will put all of the 500 particles on all at once starting at the beginning so you can see on our mesh here we've got a bunch of dots and these are going to be basically kind of the center of each piece I like Flake that's going to come off right so let's continue on with settings here we've got lifetime we want to turn this up to more than you have frames so at the moment we've got 250 frames will set this to like 500 as long as the end frame in your animation is less than this number you'll be fine now down here in the source settings we want to just turn on use modifier stack and we're going to turn random off I find it sort of gives us a bit more of an even distribution of points on the face which will help to keep the the flakes kind of the similar size we're also gonna scroll down here and open up the physics section and we don't actually want any kind of particle physics going on here so we're just going to set this physics type to none and that will keep it will make sure that the particles just stay put on the surface and there's no movement going on here and just a couple more settings just to make life a little bit easier we're going to go into render here and we don't actually want to ever render these particles so we'll just set them to render as none but then in viewport display we're going to turn them to point and so that then they'll just come back here so we can see them in the viewport but they won't ever render okay so that's it for the particle setup let's go back into our modifiers and we're gonna add another modifier and it is the explode modifier and so what explode does is it looks at the particle system on your object and then uses each one of those particles as kind of a sort of a center point to break up the mess into chunks now if you go to alt Z you'll see that our mesh is now kind of broken up into these sort of pieces now at the moment the edges are a bit kind of stair-stepped but we can kind of get rid of that a bit with this cut edges option that'll just give them a bit more of a natural sort of edge and of course you can use this view the alt said x-ray view here if you wanted to go back to your particle settings and adjust maybe the number of particles if you want bigger flakes you can just set this number turn this number down if you want smaller flakes you can turn them up but we're just gonna stick with 500 for the time being now to set up our cloth simulation we don't want to have to sit here and like simulate the entire mesh while we're kind of just tweaking our settings so what we're gonna do is make a cut down version of this mesh which will help us to just simulate on a smaller section of it get our settings right and then we'll put those settings back on to the full size mesh here so to do that let's shift D to duplicate we're gonna hide this original flakes mesh here and just with this new one selected we might just rename it and we'll call it tests we can all said to get out of x-ray mode and now if you go up here to object we can say convert to mesh from curve meta surface etc and all of your particle system and modifier stack and everything will disappear that means that it's kind of baked all of our modifiers down into our mesh and so that means if we go into edit mode now we can see kind of all of our broken up flakes on here on the face so if you push alt a to deselect everything what we can do is just with our mouse hovering over various parts of the mesh just use the L key like we did before with those like eye bags and mouth bag and stuff and just hover the mouse over a bunch of these different points and then push the L key and you'll be adding them to selection so this much of the mesh will probably be enough then you just need to just go ctrl I to invert the mesh X and delete faces and so now we just have this one little section here that we're going to work on all right so let's get some cloth going so if you click on this little circle ikana icon here you can find physics settings so we're just going to click on the cloth button and this will turn our mesh into a cloth object if you click this little menu button here where it says on the cloth header here we'll pick this silk preset and that'll just preset a bunch of the settings for us to get us started the quality steps you can while we're testing you can just turn this down so just set that down to one that just is a subsampling if you've ever done any physics stuff before so obviously we can turn it up again later but for now let's just run with number one and also this effect is it's kind of a zero gravity sort of effect so we actually want to go right down to the bottom here two field weights and let's just turn our gravity down to zero and now we're just going to shift a go down here to force field and we'll pick wind you'll see it creates this little kind of icon here we want to scale this up so let's go into the top view and scale it up so it kind of covers the whole area where the head would be you can turn the head back on if we want to check so that makes it a little bit easier here so we can just scale up to something like that turn the head back off and we're gonna go here in the settings and say strength is 100 and what we might do just to keep things organized up here in the outliner click on the sim collection here and you'll notice when we do that it kind of gets this very faint kind of an outline here and that just means it's our current collection so that any new objects that we create will automatically get put into this collection because we didn't do that before we created this wind let's just drag it in to the sim collection and with the wind selected let's just f2 rename it to wind now if we do shift a and select turbulence that will now get added into our sim collection and again f2 and let's just rename it to turb for turbulence because be bothered typing turbulence let's just go down here set our strength to 300 and we're going to set the size here to 1 now what this size does is turbulence is going to kind of add just a noise into our simulation and we're gonna use this to kind of give the cloth a little bit of a sort of a wavy motion as it kind of peels off of the face basically what we're going to do is take this turbulence and kind of animate it so that the noise will move through the cloth as it sort of moves up from being pushed by the wind and that will give us a nice kind of a flakey floaty kind of cloth feel we're just going to tweak a couple other parameters here obviously I've just kind of done a bit of research and worked out what's the best sort of settings to get this nice kind of look that we're after and I found is turning this bending damping down will help to kind of make the cloth kind of Bend a bit nicer another thing I found was just turning this air viscosity down a little bit so 0.5 instead of 1 so that's all looking pretty good now let's animate this turbulence let's go into a side view here and you can just grab this turbulence with the G key move it to you know any position doesn't really matter we're going to go into the object parameters here and with our frame set to frame 1 let's just hit this little button little dot next to the Z location and we're gonna that'll just set a keyframe there let's just drag it all the way over to 250 and just use GZ and move it up to something like this we'll check it in a second but let's just set a key there we want to just with our mouse hovered over the timeline here just push the T key set this to linear and then now there's a couple of shortcut keys that you're gonna really want to get used to using if you're doing a lot of simulation stuff basically shift left arrow will reset your time back to the first frame and space will play so obviously you can see you'll you'll push space check the setup you're like oh I want to change you know such and such go in here change some parameters shift left arrow space to play again and then rinse and repeat so these settings are all looking pretty good don't forget to save at this point would suck to kind of lose all the work we've done so far so now in the cloth settings here again with our test object selected you'll remember we had this little presets menu so an easy way to transfer settings from one object to another would be just to save our own little preset here so let's do that with this menu open you can just where it says new preset select that and type whatever you want we'll call it flakes and then you just push this plus button and then you'll have a little flakes preset already set here and so now we can just hide this test object and what we'll actually do first is up here in this filters icon enable these two filters here one looks like a monitor one looks like a camera and that's our viewport and render visibility you'll notice if you hide something with just the eyeball it'll still actually show up in your render if this camera is not turned off as well so I always find it's good just to have these showing all the time so in the case of our test sim here we just want to we can drag across all three of those and turn it off for everything turn it off for viewport render and just standard view now we're just going to turn our flakes back on select the object and then we're gonna click the cloth button again for this object and then we can just go in here and pick our flakes preset and you can see quality steps has been set to one our bending damping is set to 0.1 the one thing you won't get with the preset is the gravity doesn't come across so you'll just have to come in here into field weights and set your gravity down to zero again and now if we push play and let's actually save this first control s so when we push play what happens now is all of our flakes all kind of fly up at the same time but what we want to do is we're going to use the pinning feature in the cloth simulation to pin down all of the parts of the mesh that we want to move then we're gonna have an influence object that as it kind of encloses different parts of the mesh those parts will get released from the pin and then they will start to flake up and fly away so we just need to go in here push shift a and under empty we're going to make an empty sphere and if you push the S key let's just scale it up so that it sort of encompasses the whole head so something like that will do the trick and if we just go into a side view here we're just going to push it G's ed and just move it up above a head like so now on our head itself here let's go into our modifiers and let's just close down some of these on the modifiers here and we're just going to add a modifier and we're going to pick this vertex weight proximity and what we want to do with this is we want to just push this up arrow here so that it happens before the cloth so you know in the modifier stack the modifiers happen from top down so subdivision and then displace and then particle settings and so on so this will just make sure that this vertex weight thing happens before our cloth to set up you'll notice that it needs a vertex group here so let's create one if you go into this triangle green triangle button and you push the plus key here that will make a vertex group so let's double click it and we'll rename it to pinned and now if you tab into edit mode push number one on the keyboard to go into vertex mode press a to select everything and then you want to hit this assign button here with this pinned group selected and so if we tap back out of edit mode we go back into our modifier panel here and here where it says vertex group we're going to select our pinned vertex group for the target object we're going to select our empty here and actually let's rename it so let's pick this push f2 and we'll call it influence and then back on the head we're gonna pick our distance setting here and set it to geometry and here where it says fall-off type let's pick this smooth fall-off and now what we're going to do is animate our sphere here to slowly kind of encompass the head before we do that let's go back into the head and turn off the cloth display because we don't want this updating as we're animating and let's pick influence object here and then in this object parameters we with our frame set to frame 1 let's just hit this dot next to the Zed here to set a keyframe and then we can do shift right arrow to go to the end of our animation range here and then in this side view we're just going to go GZ and move this sphere down to encompass the head something like that and then just hit our button again on Zed and then with the pointer hovering over the timeline here we want to push the T key set these to linear and now if we hit spacebar to play you'll see that our sphere kind of slowly pushes its way down into the head now one last thing we need to do is we need to tell the the modifier here how big our sphere of influence is and that's using these two parameters here highest and lowest so the best way to do that I found was to pick the sphere here go to the in top side menu and select the item tab here and you can see in our scale factor here what we scaled the sphere up to so it's pretty close to 13 units here so let's just pick our head and what we want to do is set our highest to 13 and then lowest will be a little bit less probably go like a 1 unit less maybe so we call that 12 and what this does is highest means that the the highest weight for this pinned group is going to be from 13 units onwards so that basically means anything outside of this sphere will be set to be fully within this group fully pinned but lowest means anything under this number will become 0 and so is therefore not pinned anymore the only way I found to visualize this is by going into weight paint mode if you just scrub through your animation here you can just double check that it's all kind of working and of course you can go in here and tweak these numbers if you sort of smooth off that fall-off but I found like a really kind of a pretty harsh sort of fall-off actually works the best with getting that real kind of flaky sort of feel so this is all looking pretty good this is definitely working how we want it to so let's just go back to object mode here will re-enable our cloth down the bottom of our modifier stack going to our cloth settings here and we're just going to tell it to use this pinned group to pin the cloth down so if you go into shape here and then where it says pin group you just need to select our pinned group here so now that we push play you'll see that all of our flakes stay in the same position that we want and then as the sphere kind of cuts into the face we get those flakes kind of being released one thing you'll notice as you play through the animation is that you'll get this kind of dark blue bar here that sort of slowly fills up as it plays through and what that is is a memory cache for your simulation and so once that cache is full you can actually scrub through your animation fairly easily like this so that's a very handy little feature one thing we're just going to do now is quickly I want to just tweak the animation for this turbulence field that we have here it sort of needs to travel kind of a little bit faster than the flakes are kind of floating up and that will help to give it a bit more of this sort of wavy sort of feel as they sort of float away so let's just jump in here we can probably the easiest way to do it maybe is if we split this window which you can do by hovering your mouse cursor over the corner of any window until it turns into an X and then you drag it up and then if you just go in here into the graph editor this is our animation here because we have the turbulence icon selected and I want to make it go like a little bit faster so I'm just gonna select this last keyframe here G Y and I might just drag it up a little bit ah because we've changed something to do with our simulation we've now lost our cache in the bottom here so we'll have to rerun that again and so once that's done let's just get rid of our window down the bottom here again by dragging from the corner down into that window to delete it and a couple of other final tweaks is we're gonna first set up the head as a collision object for the flaky material so that we don't get any flakes kind of intersecting with the face when we render it so to do that we're going to go into turn on our head collection again we just need our head mesh and these two outer eye objects and with our mouse over the viewport we're going to do shift em and the difference here between shift m and just purely M is that objects can actually be members of more than one collection and so whereas M will move objects between different collections shift M will actually add them to a new collection but keep them in the old collection that they're already in so with shift M we just go a new collection and let's call this one collision and as you can see they've stayed in the head collection but they're also now in this collision collection and we can just fold this closed and now that we've added those objects to the collection we'll need to just also click each one of them so click the head mesh and turn on the collision settings in the physics tab and we'll need to do that also for each of the eye outer objects like so and then select our flakes mesh here and under our cloth settings we want to go down to collisions and in here we have a collision collection which we can just select our collision collection okay that's all good and now what we're going to do is set up a disk case for our simulation so let's just go into the cache settings here and you'll notice here it's kind of got a little entry here I like to name this just so the files on disk will actually get this name so we'll just call this flakes yeah starting in frame set correctly but just you just want to double-check these and there's two different ways you can case things in blender in for physics simulations you can kind of just leave it as is and hit the bake button and it will save it into memory and then when you save your blend file all of that data gets saved into the blend file this can be good it makes like managing the files a bit easier but I prefer doing a disk cache because then you don't have this massive blender file because what the disk cache setting does is actually put it into a folder next to the blend file and it'll save each frame as its own file in that folder it has one big disadvantage in that if you do a file save as it won't make a new copy of your cache so you'd have to actually go back into your folder and make a copy yourself or rename the folder so that it'll pick up the case under the new name it's a bit of a pain and again you know there's pluses and minuses for both kind of techniques and it's up to you to kind of decide which one you like to use we're just going to go for this cache but if you don't you just want to do the normal one you can just not turn on this option here and one last step you want to make sure that you have saved your file before you go ahead with this step and then you're just going to hit the back button here and so once that's done you should be able to just scrub through your animation like so and see it all playback nicely alright so let's get this rendering let's go shift a add a camera and then we'll you go into our view pie menu here we're going to our side View menu here with n key and then we want a lock camera to view here and then let's just pull out and get like a nice little side view you can go into the camera settings here and change the focal length let's make it 85 will give us a bit of a tighter shot here and compress the perspective a little bit and so just set up something nice like this go back into the N menu turn off the lock camera and then we're just going to zoom into I here and it looks like it's not on smooth shading so double check that and actually make sure all the objects are on smooth shading here that's a bit annoying anyway so pick this this eye here and hold down shift and right click and that's going to place our 3d cursor right on the top of her eye there and we're going to use that as our focal point for a bit of depth of field so just go shift a add an empty you can do a plain axes we'll do push f2 and name this focus and then back on our camera we're going to turn on depth of field pick our focus object as focus and the f-stop we have to turn this like right down because the scale of our scene is pretty high like higher than it should be so this f-stop will turn it right down to like point zero eight that gives kind of a nice out-of-focus depth and background and just a little bit of depth of field now let's split our window here and we're going to go into the shader editor and let's go to the world section and we'll just add an HDR I here you can push N to get rid of this side panel here for not going to use it control space we can make this a bit bigger and then if we do shift a you can click this search and type environment texture and then if you pick open and I'll put a HDR in the comments the one that I'm using and again it's the old HDR I haven our mates and then so hook your color into the color of the background with the texture selected and make sure you have node Wrangler enabled in your add-ons if you don't know what I'm talking about go check out the shortcuts video which I'll put up on the screen here but you want to do with the node Wrangler enabled push ctrl T and that'll just make your mapping coordinate nodes here and that will just allow us to rotate the HDR around to where we want it so control space to go back out you know viewport here let's go to the camera view let's push the Zed key and then go up to rendered mode in your render settings here let's just flick it to EB if it's not already and we're just going to use this z rotation here on our environment just to pull it around so that we've got Y a bit of a bit of kind of highlights nice gonna out-of-focus highlights in the background there so about 162 is what I've got here and so another thing we want to do here is just set our strengths down to not point three and we're gonna make this kind of a bit of a blue color here so we're just gonna go shift a and I like to put a shortcut key on this search if you seen my other videos you probably sick of me saying this so if you just right-click it go a sign shortcut and then I do like a ctrl shift a and so now we can just type ctrl shift day and do searching for things so we want a mix RGB and we're just going to drop that on top of this little noodle here we're going to make it a multiply turn the factor up to one and then looking at this kind of background here we're just going to make it into a bit of a blue kind of color so something kind of like that will do the trick and we're just going to jump into our render settings here and let's turn on some cool effects we're going to turn on screen space reflections we're going to be using the refraction feature mostly for our eyes I think we can turn these settings up if your machine can handle all of this hopefully it shouldn't be too bad as far as rendering is concerned so I generally will just turn this trace position up to one turn off the half res trace and that will this basically give you the best kind of reflection and refraction quality we also want to go down here to shadows and we're going to change the method to VSM because we're going to have a bit of translucent Ran's lucency in the flaky stuff so this seemed to be a better option for doing that but we also want this high bit depth and soft shadows turn on so let's add some lights we'll split a view across here like so and we'll leave this as our kind of rendered view here for a preview and then on this side we'll just do shift a add in an area light and let's put this we want this area light this will be the kind of a backlight so if we go to the top view we can kind of drag it over to the left here you can see our cameras on the right so we want this light to be behind her head and a little bit off to the side something like that kind of a location so you kind of just something like this we've kind of got it just as a backlight now the size we want to make it a bit bigger so let's go into the light settings here and then make the shape a disk and the size we'll just crank it up here you can use these handles here in the viewport as well to get the size you want so something like that about 30 now in the top view let's shift D to duplicate it rotate it around almost like a 180 degrees and we're just gonna use this of like a little bit of a fill light so move it into this kind of a position maybe kind of something like this and in these views we'll just bring it down a little bit rotate it up a bit like so and for this light we're going to make it I'm just going to give it a little bit of warmth a little bit of sort of orangey kind of color like so and we can't see much at the moment so this one I think we need to crank up to like 10,000 and you can see a bit of that light coming through here that's pretty good and then this backlight here let's make it a little bit blue and we'll make that 50,000 and you can see getting this kind of highlight here and a bit of highlights here and what's going to happen with this light as well as it's going to shine through the kind of translucent flaky stuff and really get us a nice kind of backlight sort of feel okay so let's get those shaders going we'll go into the shading area for this I think up here we'll change this into our render view make it our camera and so let's grab our head here and create a new shader and we'll just call this head and we're gonna grab the textures that came with the download of the model so you can do that you can just browse to the textures from this left-hand panel here and we're gonna grab this color raw and we just want the diffuse from there and we can just drag and drop that you to the shader editor here and we're going to plug this into the subsurface color and we'll crank the subsurface all the way up to one and you can see it's kind of coming through there we might want to just pick the flakes for the time being and hide it just so we can see what we're doing here then we're also gonna grab this specular map here let's drag and drop again we want to add in a math node and our color is going to go into the top and we're just going to change it to a multiply and then that value is going to go into our specular setting here and you can kind of tweak the roughness a little bit as well I found is turning it down a little bit sort of 0.44 seems to give a good result and lastly we're going to use the displacement map that comes with the model so we're going to the displacement folder and we'll just have a look at the names of these we want to grab this one that's just called displacement so not the micro one just the displacement one we'll just drag that again into our shader editor here now if we're using a V you can just plug this use it as a bump map so you could just plug it you know create a bump map and plug it into the normally input here but if you ever want to render this in cycles you can just use the displacement map and plug it into the displacement here and it'll be the exact same result except that you have the option later if you go into cycles that you can actually use it as a displacement map without having to change your shader at all so let's do that ctrl shift a make a displacement node drop that down color is going to go into the height we set our mid level down to zero because this is actually a floating point image here which you can see by the fact that it's come in as a linear image and then we want to go from displacement into the displacement here and then when we come back out we can see that that's been applied to our model here I'd say this scale probably needs to come down to sort of 0.5 to make it look a bit more natural so that's looking really good now let's just show bring our flakes back in here and let's work on that shader so we'll grab a new shader call it flakes and we're just going to turn the roughest down a little bit so you get a little bit of a shine on there and then we're gonna go control-shift day and add in an ADD shader and if we just drag that in between these connections here you'll see the the connection highlights and we'll just drop it and then ctrl shift a again and we're going to add in a translucent B SDF so grab that guy plug it into the bottom shader slot and there you can see we've got this nice kind of translucent effect here you can adjust the sort of levels I mean I might you might want to kind of bring the base color down of both of them just to kind of get it to the sort of right brightness that you want you also notice these kind of blockiness here you'll just need to go into your EB settings and back in the shadows you want to turn this cube size up until the blocks disappear so probably a 2k might do the trick you'll see banding as well but that's basically your sampling here so I mean if I turn the viewport sampling up to like 64 the banding will sort of go away but that's something else you'll need to adjust what we might do is just turn this viewport back down to 16 and we're gonna set the render sampling up to 80 and that I've found that seems to do a pretty good job and now last but not least let's have a look at her eye now there's no time slider in this shade of view so we can just go shift right arrow and that'll take us to the last frame here so we can see her eye and you can just do min on this viewport here and so we're just going to pick the eye outer add a new shader and we'll call this eye outer and we're going to turn the transmission all the way up to 1 turn the roughness all the way down to zero the IOR should be one point three three three three and if we push in to bring up this side panel here we need to go into this options section here to tell it to make the eye shader transparent I think this option is kind of going away in to 81 so it might not be here for you if you're watching this in the future but for the time being what we need to do is go here into blend mode and set it to alpha blend and then we probably want to make this shadow mode none so that's not casting any shadows on the objects inside and we also just need to make sure that screen space refraction is turned on and because we enabled that in our EB settings as well will now get a refraction effect happening here and so let's take that eye out her shader and assign it to the other side as well just in case we ever see the other side and let's work on the inside eye so I think it's which one is it okay so it's this eye inner 0 0 1 and to make life a little bit easier we're just going to push the forward slash button and that will just isolate the eye by itself and we can work on that so then let's make a new shader and call it I you know we're gonna turn the roughness all the way up let's make this bigger and let's make a couple of nodes we'll go a gradient texture and we want a color ramp and so our color ramp is going into our base color our gradient texture factor goes into the color ramp factor then with the gradient texture node selected ctrl T again to make your mapping nodes and because of the way the UVs come with this model on the I inner object we'll just need to do a minus 90 rotation in the Zed and then if we control space so we can go back to our view we just need to go into our color ramp yeah select this first swatch and we'll make it white we'll select will do hit the plus make another white swatch select that one hit the plus again it's made another one okay we'll basically just want to drag this swatch up to here so like point 8 4 5 this one will drag it up pretty close to that one and in here let's just make this a blue color and we'll also make this one a blue color and you'll see the the effect we're looking for is kind of happening on this side of the eyeball because I think I must have forgotten yes so I need to take this texture coordinate and plug the UV into our mapping node and now you'll see that the blue part of the eye what is it like the iris or something I think it's called is now at the top here if we want to get a better view of what we're doing with the texture we can control shift click this color ramp and we just want to basically set the iris up so that it looks like it's kind of just covering that the right section of the eyeball and grab this make it maybe a little bit darker like so something along those kind of lines and then if we ctrl shift click our principle be SDF that'll take us back to the full shader and if we push our forward slash button again that'll bring us back out to the proper view of the whole scene and we just want to pick the other eye you know as well just to make sure and give it the same shader and let's do a save just in case and now if we go to our camera view we can see that there's looking pretty good looks like an eye if you're getting this weird kind of line here you just need to turn this show back face off and there you go that's looking a lot better so if you're gonna set this up for cycles I recommend go into your head shader here open up the settings and you want to make sure that displacement is set to either displacement and bump or displacement only and that will enable the displacement map that we've put in here and you also want to make sure that you're using here where it says Kristensen Burleigh you want to change this to random walk subsurface scattering and that will just give you a bit more of a realistic kind of skin look to the shader and the last thing you want to make sure is just add a subdivision surface to pretty much all your objects that you're going to render except for the flakes and then just set it to adaptive and that will just give you a bit more displacement detail in your render and then when that's all done let's just hit the render button and see what we get and looks pretty good it could do with a couple of tweaks I think make the eye maybe a little bit darker we reckon this background could be a bit kind of bluer but go ahead and tweak to your heart's content and you'll get something cool like this so that's it for today thanks for watching I'm gonna check up a couple of other tutorials up on the screen here if you haven't been to my channel before feel free to go check them out and if you like what you see hit that old subscribe button and hit the like button and I'll see you in the next one

Channel: Dylan Neill

Views: 80,848

Keywords: blender, 2.8, 2.80, cloth, simulation, eevee, cycles

Id: gqvqx6VtjEk

Length: 45min 39sec (2739 seconds)

Published: Thu Sep 12 2019