HOW TO Realistic Materials in V-Ray 5 for 3ds Max | Plastic, Wood, Concrete & Metal | Tutorial #143

in this video which is titled how to shaders we'll learn how to approach creating some of the fundamental materials including plastic pocket or wood generally concrete and metal hey folks welcome to mograph plus this video is a free sample from our course vray 5 master class your complete guide to very for 3ds max it's a massive 15 plus hours course in which we explore all the aspects of your for 3ds max thoroughly make sure to check it out the link is in the description also be sure to subscribe and ring the bell to get notified about our latest videos let's start with plastics i'm going to open up the material editor create a new fast ss tool material and assign it to the shader ball and run the ipr the reason i don't use very material for plastic shaders and use fast ss2 is the lack of a subsurface scattering component in the viewing material and adding a simple subsurface scattering component to very material is one of the biggest improvement that chaos group can work on how come your material does not have that yet considering how much subsurface catching is essential and can add to the realism of the shader it is really strange they still haven't added it yet i hope they'll look at arnold's standard surface shader as an example and add a similar subsurface catching component to very material as well but we work with what we got for plastic shaders we don't need much diffuse contribution but we might add a bit later on first we need to decide on the color of the plastic we are going for a red plastic here and normally you want to have the same diffuse and subsurface color so i'm going to add a new v-ray color map we can use the colors here but i think the color map will help us if you want to change the color of the diffuse color and subsurface color at once so in the viewer color map change the color to this kind of vibrant red with the rgb values of 172 7 and 7 and change the rgb color space to srgb primaries as we are in aces and use it as both the diffuse color and the subsurface color as we are dealing with plastic let's change the fresnel reflectivity or ior to around 1.5 1.55 if you have any issues understanding these parameters you can refer back to the previous videos where we explained these parameters in detail now let's work on the scatter radius and that really depends on the particular plastic that you want does it have a dominant look and feel of subsurface scattering or not then you can decide on the amount of scat radius in this case let's try something around three centimeters and that should be enough now coming down to the specular section i mentioned in the reflection lesson that for most materials and shaders you can safely keep the specular amount and color at one and white to keep the shader as physically accurate as possible in the past we used to control specular or reflection amount and specular color and specular glossiness or reflection glossiness and then define very specific ir values for each shader you can actually forget that in this kind of new approach specular amount or reflection amount and color is always one or white and just specular color is just a simple white or reflection color it's just a simple white it's called specular in the subsurface gastric material and the ior value for most daily shaders like plastic wood concrete and so on can be around 1.5 the only thing we are interested is the specular glossiness or roughness we add variations to the specular glossiness with a grayscale texture and that adds all the realism we need let's add a very bitmap node and load this bw underscore metal texture this will be used for specular glossiness which is a data input and as we are in aces let's change the rgb color space to raw and also if you have any question about aces check out the video in the introduction section and the video in the rendering section of the course about aces also we'll be using this map later on for bump mapping so i'm gonna keep this original version unchanged to be able to adjust its black and white values and therefore control how exactly specular glossiness looks eventually let's connect this texture to an output map and connect that output map to the specular glossiness input if we look at this texture as it is connected to the specular glossiness the brighter pixels will end up making the specular reflections look sharp and the darker ones will make it look rough and blurry now i can use this output map to dial in the exact amount of sharpness and blurriness so i'm going to enable color map select the first point and increase its y value to around 0.675 and this will make the dark values of the texture much brighter and therefore will get a sharper specular reflections in those areas and then select the second point and decrease its values from 1 to around 0.9.92 and this will make the brighter values darker and therefore the sharpest parts of the specular reflections will become less sharp and again this depends on the particular reference that you are looking at if it's a matte plastic you need to darken the image and get rougher and blurrier reflections and vice versa or if the surface you are replicating is new and does not have tons of scratches or fingerprints or smudges you can decrease the contrast of the texture assigned to the specular glossiness by simply making the first and the second point have closer y values another thing that you can do to make your shader look more realistic is to make the perpendicular faces a bit sharper compared to the parallel faces to the viewing direction if we were using a very material we could have used the code section there unfortunately fast ss2 does not have a coat layer at the time being so we might need to get our hands a bit dirty and do it manually so what i'm gonna do is to use a falloff map and this will give us white or one values for the perpendicular faces and black or zero for the parallel faces then we can simply add that map over our original specular glossiness texture to get the final specular glossiness map first let's add an osl falloff map from the osl utility maps or you can use 3ds max's native falloff map the end result is the same just the parameters are a bit different i'm going to temporarily connect it to the specular glossiness texture input so if i decrease this power value to something like point 2 you notice the perpendicular faces are much sharper and the parallel faces the viewing direction are much blurrier or rougher if i look at the map in isolation you'll notice why this is happening the parallel faces are shaded darker therefore will be rougher and the perpendicular faces are shaded brighter therefore sharper now we can simply use a composite node and add this falloff on top of our original texture so add a composite node we need two layers here the original texture will be layer one and the falloff map will be layer two and we'll be using this composite map as our glossiness texture instead i'm just going to change the blending mode for the second layer to addition and now you can see how these perpendicular faces become much sharper and now we can dial in how much of that we want using this opacity amount for the second layer i'm going to probably set the power amount for the falloff map to around 2 and decrease the opacity to around 30 percent and this will add another level of realism to the overall shader the next thing to consider is to work on the bump mapping for most surfaces you need an overall unevenness that can be achieved with a simple noise and then more high frequency details which you can just reuse the specular glossiness map so add a very normal node use the original glossiness texture as the bump map input and then connect the vray normal load to the bump input of the fast ss2 shader and now we need to dial in the exact bump amount that is needed we can enable this real zoom feature in the ipr and zoom in a tad to see the results a bit better right now the bump amount is too much let's decrease it to 0.1 still way too much for a surface like plastic let's try point zero one it's still too much and let's try point zero zero three okay this looks good we don't want to exaggerate anything subtle and little is always better so that's the high frequency detail now we can get out of the real zoom and let's quickly add that general unevenness to the surface using a simple noise map you know most of the materials and surfaces surrounding us in real life are not made perfectly it's not going to be perfectly smooth there is some sort of waviness to them and if you take a look at any reflective surface around you you can see that overall waviness and unevenness to them we can use a composite note with two layers the first layer would be the glossiness texture and the second layer will be the noise node and then that composite node will be used as the bump map input for the very normal node or we can use vray bump material like we learned in the bump mapping video a few lessons back but the simplest way is to use this existing vray normal node and simply connect a noise map as the normal map input let's see if that is possible or not so let's add a noise map and decrease its size to around 5. and then connect the noise map to the normal map input the result is odd we can't see the noise pattern but it looks incorrect and that is because the normal map input needs a normal texture not a grayscale texture is there a way to convert the grayscale noise map or any other grayscale map to a normal map on the fly yeah it's fairly possible through a v-ray bump to normal nodes so let's add one connect the noise map as the bump input and now connect the v-ray bump to normal as the normal map inputs now it looks correct now that's the type of unevenness that i'm talking about but we want to be subtle here so let's set the normal strength to around 0.3 now let's see what we get now the good thing is that this whole shader is being controlled with this one map that is connected to both the specular roughness or the specular glossiness and bump input if we load another texture you would get an entirely different look just load another black and white map and see what happens now let's quickly turn this into a yellow plastic shader i'm going to duplicate the whole shader and assign the new one by simply shift dragging them and now we just need to change the color in the very color note to any other color that we want let's go for a yellow color with the rgb values of 248 133 and 0. and that's our yellow plastic shader let me show you the final renders with both the red and the yellow plastic shaders now let's pick up the piece a bit and go for a wood part k shader this time we'll use vray material as we don't need subsurface scattering for wood so create a new very material and assign it add a very bitmap node and load this parkade.png texture as this is the diffuse color texture and we are in asus set the rgb color space to srgb i'm gonna also set its styling to around 0.75 so it sits larger on the shader ball i'd like to use the roughness mode when using very material so let's change the mode to roughness set the reflection color to white and ir can remain at its default state as we discussed earlier now let's go for the reflection roughness immediately i'm going to load these sparky underscore roughness texture change the color space to raw and tiling to 0.75 like our diffuse color texture i'm gonna quickly invert the texture as this texture was created for glossiness workflow if i view the image and zoom in you notice the narrow edges between the boards are black which if used as a roughness map will end up giving us sharp reflections in those areas and the wood grains are also darker which again make the surface sharper if used as the roughness texture by inverting it the map will be proper to be used as a roughness map you can do that in the output rollout of the texture and another suggestion to chaos group just use the roughness map like any other modern workflow and ditch the glossiness value just replace it completely and be done with it we can connect it directly to the reflection roughness input or like the plastic shader let's put it through an output map for further adjustments so connect the roughness texture to an output map and connect the output map to the reflection roughness input i'm just gonna make the dark values a bit brighter by increasing the first point y value to around point one and that would make the sharp parts less sharp now connect it to the reflection roughness input let's quickly add some bump mapping as well i'm going gonna copy the specular roughness map and load this parquet underscore bump texture just make sure it's not inverted because if we take a look at the texture we know for bump maps the black pixels cause indents and this map looks right at its raw state and connect it to the bump map input of a very normal map node and connect that to the bump map input of the vray material and let's decrease the bump amount to around 0.25 now let's add that overall waviness like the plastic shader i'm just gonna steal the noise and the bump to normal from one of the plastic sheeters and connect the bump to normal to the normal input of the vray normal node and set the normal amount to 0.25.3 like the plastic shader thankfully theory material has a code component so we don't need to use any trickery to get that sharper perpendicular reflections just set the code amount to 0.3 code roughness to 0.1 as i don't want them to be very very sharp in this case and code ior to around 1.25 so the code will be limited to only the incidence angles as we discussed in the code video a few lessons back so that is our simple parquet shader let me just stop the ipr and show you the final render for this shader here now let's go for a quick concrete shader i'm going to add a new very material and assign it use roughness instead of glossiness i'm going to add a new v-ray bitmap node and load this concrete underscore 0-1 underscore d and use it as the diffuse map for the reflection roughness map connect the same map first to an output map for the same reason that we inverted the part k roughness texture we need to invert this map as well and let's use it as the reflection roughness map and for the bump map connect the original diffuse map to the bump map input of a very normal map node and set the bump amount to something like 0.3 and that's a simple concrete shader i didn't use the noise map here for that overall unevenness or waviness you can do that as well but here the surface is rough and that waviness is generally visible on more you know reflective sharper surfaces and here is our final concrete render and finally let's go for a metal shader so create a new very material and assign it let's use the gold preset to get us started i'm just gonna make the color a bit less saturated with the rgb values of 243 207 and 121 for the roughness let's add a v-ray beats map node and load this bw underscore metal underscore zero tool temporarily let's connect it directly to the reflection roughness to see how it looks and i'm going to set its rgb color space to raw as it is a data input and we are in aces increase the tiling to 1.5 and 1.5 and i'm gonna set the w angle to 125 to give the scratches a bit of diagonal direction as always let's use an output map before connecting the texture to the reflection roughness input enable color map set the y value for the first point 2.05 and for the second point 2.4 i'm just going to change the point types to basic corners and add a bit of bulge to make the values of the map less contrasty by now you should know why we actually decrease the y values for example for the second point uh we changed it from one to four therefore the brighter values of the map got quite darker and when used as the roughness map or reflection roughness map they should end up making this surface less rough or much sharper now for the bump map connect the original roughness texture to the pump input off of your normal node and connect the normal node to the bump input of the very material and let's decrease the bump amount to 0.02 finally we can steal the unevenness combo from the plastic or the wood shader and connect it to the normal map input of the normal node and set the normal amount to around point 25 let me stop the ipr and show you the final render just make sure the noiser is disabled so we can see all the details for this render it's a nice shader so that's how you approach creating different shaders in v-ray in their simplest form obviously this can get much more complex than this now you have a good foundation to build upon it's a very simple approach specular or reflection roughness is the key to everything and you build around it so in this lesson we'll learn how to create shaders like plastic part k concrete and metals see in the next video make sure to visit our website mographplus.com or our gumroad page at gumroad.complus and check out our premium cgi and rendering courses for cinema 4d 3ds max maya arnold coronavir redshift octane and so on see you in the next video

Channel: MographPlus

Views: 13,062

Keywords: vray, 3ds max, materials, plastic, concrete, wood, rendering

Id: ouBHwAV8Iws

Length: 26min 21sec (1581 seconds)

Published: Thu Feb 04 2021