How to use Arnold Surface Shader - Rendering introduction | ep#602

hello everyone and welcome back to my channel by now we have 20/20 and I thought I'd change up my youtube game by actually presenting myself in the videos the idea being that I want to have a better contact with you guys so we actually have someone to look at when I am showing my Maya sessions or my 3d sessions in general so Before we jump into today's video I just want to show you a really great book about architectural renderings which is this book here it's very amazing it has amazing content and super talented artists in it and they talk about their stories how they achieve their renders it's it's a book which has been partnered up with other motion and CG architect and I guess a few others it's highly recommended like especially if you want to amp up your rendering game it's it has really great renderings I don't think I should be showing them you should actually get the book and look at them yourself they're super impressive very high print quality and let's just show you at least the main partnering page which is this guy so yeah check that out and obviously you will see wait you can get the book and there's some DHL shipping as well so all I can say look at this book there's amazing content in this great stories and great tips how to get your renders looking a lot better and definitely to be on par with those guys it's really impressive in today's video I want to talk about the standard surface shader and most of you should know by now that Autodesk bought up solid angular while back so solid angle is the company which actually produced the Arnold renderer so they got bought by Autodesk and by now they have their own like maya at least they have their own charity called stand and surface shader which is an adaptation from the standard arnold standard surface shader so i just want to go over the basics i did that quite a while back I think with Arnold for 2000 like seventeen or something a while back as I said and I just want to refresh it so just give you guys a quick overview about the basic material attributes you have in the shader and how to create at least like 90% of the shaders or materials without much texture work or at least I'll show you the basics so why don't we just jump right into my and have a look about my setup here alright so you can see this is a fairly basic scene I will actually provide you with the scene so you guys can play along and if you it will be online on my patreon website so obviously you would need to sign up for that source files tier and you will be you will get grant access to all the different tutorial source files I have created before plus this one and plus new ones which will to come in the future so you will get the shade of all the lights everything actually what you get in this scene I will upload and you will have access to all these things so I have a super basic shader ball it's just pretty much a sphere cut up and I just added some kind of metal bits and here and there just to show you some kind of more interesting sphere I guess nothing too crazy and then I also have reference files in here like quite a few of them oops let's go here so there's all the shaders and whatnot so I just want to go over them and show you what you can do with all these different materials so this is now the standard surface shader if you hit tab and you could ai standard you still obviously get the old one or the currently what would the one which ships with or gnome which is AI standard surface but you also get the standard surface shader if you just type standard surface it's actually the one which comes in bold so this is the one which is pretty much the one which comes with Maya Arnold so this is pretty much the thing you should be using by now that's what I was told is the one you should be using it is pretty much the same interface they stripped off a few things and I think they changed names so I'm a hundred percent familiar with all these things but pretty much everything is as it was so I think it's it's good enough to at least just go over the basics so right now I have an active render session going you can see it's the sphere is right there so everything is actually pretty much live and for instance if I change the color now you can see now everything should be updating right so I'm using Maya 2020 and I'm using this m2a version although core 6.0 1m2 a 4 yeah so what you can do with this shader is like you can create plastics rubber objects glass translucent plastic subsurface objects like wax or like gemstones they all let light pass through and then we have our ID essence objects like soap bubbles or like insects which have these like it's called a thin film interference which is on top there and emission shaders so shaders which are actually emitting light cloth shaders obviously metals as well and yeah so in this session I will just go over all these bits and pieces alright so let's just start with the basic plastic so as you as you see I have a running render session going we let's just start with a super basic white clear it's almost like a cream colored plastic which is you can see it's super glossy but it's it's like this cream color so let's just pick this color so I have a color picker here and I'm just clicking not a spec surface but pretty much a which is pretty much face on so let's just click this color here and you can see now we have this cream color on the top left it might be a bit too orange but let's just bring up the specular so on the top you have to share you've got base colors which is mostly your base albedo values which is your base color like is that red green or blue and is the object rough or not rough this is only for the diffuse though it's not the specular roughness it's a diffuse roughness so this slider is actually changing the the microbe polygon Micra edges mic surfaces of the sphere so if it's more towards one it will get darker because more light is broken up on the surface and it's it's a loft soft a lot softer pretty much it's what you would use for dust or paper some really would super rough surfaces would benefit from having this two one but typically you get away with like on the fuse reference on zero with most of the surfaces and you have the metal in the slider which we're only talking about a bit later when we do metals but let's just jump over to the specular tab which is your initial specular response to a surface which is like a clear like a coat pretty much so I have a little overview down below here and you can see the base material is the bottom with this back and then you have the air so this is pretty much what we are modeling right now is this one in the middle this guy but then there's also one with the coat so there's also a coating on top of a specular lobe but as I said we will brush on that in a bit so let's just introduce some like obviously speck is you fall off like this is actually without speck so if I bring in a specular layer like this you can see now it's super rough and they get there's kind of a sheen on the sides which is driven by the roughness so if I have no roughness you pretty much have a clear coat already and you can see this is now more or less resembling this kind of shader obviously ours is a bit too dark so we can just desaturate it slightly and just make it a bit brighter and then we pretty much have that kind of shader and for basic plastic this is all you have to do obviously most of the plastics have some micro scratches and some bump mapping whatever and we are right now not doing that so for a basic plastic this is what you would need to do right if you're if it's a bit scratched up and a bit rougher you can change the roughness to maybe point one or slowly increase it and you can see now that it that the reflection is getting rougher and rougher until it's it feels like as a soft Sheen rubber almost right and then we have different kind of things like then we have this guy which looks like a plastic but it looks like there's some kind of halo around these reflections here right so you get the super clear reflection there and then you also have this broader halo I'd say around it it's more apparent here but let's just work on this guy so this would and if I would do this I would model it with a coat as well as specular response so let's just try to mimic this kind of more a bit more complex plastic so let's just pick this pinkish color here let's pick something around here just to get that color and now let's the first thing we want to model is this outer the broader spec so we changed our roughness until we hit that spot right so I'm looking now at the roughness on these things here so I'm just reducing the roughness you can see now we get this this halo around it which is pretty much all I wanted to have and then there is also the code tab at the bottom here which I just want on default it's off so I just want to bring that in by changing the weight from zero to one like that and now you can see we have this clear coat on top right now there's a roughness so let's just reduce the roughness to zero and this is similar now what we get here I think our base roughness is a bit too strong to not strong enough so let's just bring that up slightly and then we have now a nicer full of and you get this clear coat and we haven't talked about the IOR yet io is the index of refraction which is also interesting for not non refractive objects like plastics or opaque objects well it's all that defines is it's how strong is the light being reflected on the edges of an object pretty much excuse me so for instance if this is on one we should almost have no specular response on the on the base layer right so this is now on IR one the higher we crank this up the more reflective the object gets and metals a thing are starting around five up to 50 so this would almost be a metal now but we have a separate option in the metalness here to generate metals so for glass objects you try an i/o of 1.4 for transparent glass it's one point like three five or something and for water it's one point three three but typically for plastics is around 21.5 range so the default there is actually pretty good right and then we have the coating here so this would be a basic plastic as well and obviously this is more rubbery so this is actually super rough you can see now there is no clear coat but it's super rough so let's just pick that color we just pick it here on the shadow side somewhere so it's almost black pretty much but we don't have a coat so let's get rid of this guy and then let's just bring up the roughness here maybe two point four five and now we have a similar result right you can see now it's it's pretty broad this set this one has definitely more break up so that then here there would be a bump map and some scratch maps and stuff like that which I don't have right now and let's see what else we have so we've got rubber and this orange plastic which is pretty much the same as this one on the top or the blue one which is the same as this one just a the base color change right so I think the next interesting thing would be to go over metals and you have colored metals you've got brushed metals and super glossy metals and all this is that all achievable with this shader so in the base color you have this metalness slide which I was talking about previously and this goes hand-in-hand with the color so if you want to have a red metal you would want to pick a base color over red that's that we want to let's say we want to I know let's just create this green thing here so I just picked this color like so picking it and now we have this green right now it's still treated as a dielectric so the electric is everything which is not not conducting pretty much so plastics and I had a rubber and all these kind of things like skin as well as a dielectric but then if you want to have a conductor like metals like aluminum or chrome or steel you would change the metalness to one and then you see there your specular colors are changing as well so now my specular colors are returning a colored response so it's now green it's not white as it was before right and that's pretty much defining what a conductor is they have a coloured specular response obviously now this is this shader is now treated as a conductor or like a metal so now we have the option to change roughness values right so the same as before if we reduce the roughness we get a super clean metal like this and if you want to mimic the one the green one here at the bottom we can't just lightly blur it out something like that and then we get that obviously they have blue light sources here and there so this is why we don't have the blue right now which is not a big deal I guess and then there's also this color in here and you might think for what is that actually and you can actually hover over it and you get the information on metallic object or conductor objects it is the color of the grazing angle and gold for instance has like a little yellow sheen or like a little yellow edge color and copper more reddish and different metals have different colors so it's hard to visualize it I think like yeah actually it works here pretty well you can see now that the outer edge gets this kind of like really magenta Timms and this is pretty much what it's doing this is no blue if you want to have like more like a teal or a green this is what the edge color does so for metals you should always should pretty much always ever change it to something which is not white which is the default so it's kind of a slightly different color than the one you have in the top here right so to mimic this we can change it to blue to get maybe a similar effect as this one at the bottom and then again we have the reference right so this would be a basic metal like these guys but then we also have let's if actually have every example for this move this guy well this is pretty much I think this is a rendering anyways but well maybe it's not you can see that there's like the superhot reflection and then there is this almost like flakes and this you can achieve that in a very similar manner as a coated object right so what you can do you can say oh my base is actually a metal which is and then I have on top of that I have a clear coat so if I just enable the clear coat for this you can see now that we have super nice finish on top of this and we can change the roughness slightly to be a bit more shiny and then you can see now we have a very cool-looking coating on top of our original rougher base and this is obviously we can change the color to this one at the bottom here just pick this guy we add more color like increase the value and obviously we need to change a base color it's a bit more orange and what I have maybe a bit Miranda yeah so this pretty much comes into that realm and this is now what is just adding the code so if I read you remove the code again you should you see that we don't have this nice hot core anymore but if I bring the core back sorry if I bring the code back you will get this nice hot code code on top and this is now what I coated metal is or like a car paint shader this is a way of doing this for sure and let's go down the list so now we have transmission right transmission is a fancy word for for refraction pretty much so when when light enters a medium it's being transmitted and then this is pretty much what glass shader would do so if you want to now mimic a glass shade or something like this you can fairly easy to do that let me just reset the shader I have like a base preset here which just bring us back to our original shader and let's say we want to model a see-through object like this right so the first thing you need to know is a fully glass object does not have any diffuse contribution so what you should be doing is just make sure your base color is black or there's no weight in this and then you just bring up the transmission to one and then this should pretty much do it and you you almost should get a see-through object but now you can see it's it's almost like sandblasted and the reason for this is my base presets has a reference of 0.65 if I change this back to zero which would have an super nice clear looking glass surface which is this one right now if you want to have a a bit let's say if you want to have a rough specular but a clear glass then if you want to change the roughness now you will change both at the same time so I will say this will change the surface roughness while also changing the inside glass roughness itself this is pretty much a physical phenomenon but for artistic control what you want to do is you don't want to use the roughness here you just want to keep that on zero and you want to remove the specular full-on so this is now only a pure glass without any specular which is not photo realistic or physically correct but to to get this right you can go to the coat and bring that back so now we actually have the same result as before but now you have the option to actually have a different kind of specular response for the coat of the object so if I go to my a UV here and I check my coat and I reduce the roughness for this then you can see now how my coat looks like right but if I then go to and to the beauty now you can see we have this guy this is now with the code the clear coat and then if I change the base to be a super rough I can do that as well so now we have a fairly frosted looking glass but then we have a pretty strong clear coat which gives us some nice clear reflections everywhere and this is one kind of way of doing this but typically what you want to do is don't use a coat and just make sure you don't have a roughness and then you just bring up the spec and you get a regular glass so what if you want to do colored glass right most of the stuff most of the glass you see all around you has some kind of color to it so you've got green glass blue glass I think this is a bit yellowish so what you can easily do is just change the transmission color you can just do this by picking a color here let's say we want this green picking this and now we get a green color here obviously we want to make sure that our values a bit better than just 0.24 so we need to increase that to get something more like this right you can see now we get nice green shadows and everything looks pretty good one thing to know though is that glass itself does not have a constant color everywhere like thick glass for instance looks a lot richer and more saturated a more darker than thin glass sheets for instance if you I know maybe you've got a glass countertop at home and if you look through it from the top it's pretty much see-through but when you look at from the sides you can see it almost gets like greenish and almost black the more parallel you go to the with your eye line towards the glass surface you can see there's some thickness to this and you can totally mimic that kind of effect which is the physical correct of physical behavior of glass in Arnall as well and you do that with the step slider so if I bring this up really slightly like pointer 1 0.05 we should get a pretty dark response for this let me just restart the render it doesn't really uptight properly on the on the GPU here so a super low depth value pretty much gives you a black result which is not what you want so this is just telling the renter at what kind of gray depth you should you want to get this color back so at a distance point by 0.04 this is the color response pretty much so I think this is now thirty centimeters big or something so if you increase this depth maybe to fifteen it almost will look like you can see now these thinner parts like he appear they are like almost getting see-through so it's not fully there yet so if you increase this value even further let's say fifty units at some point your glass object will be pretty much see-through but for thick areas like the base it will it still be very saturated and you get the effect when in the ocean especially like for shallow water it looks pretty see-through but then the deeper the ocean gets the darker and more saturated it is and this is a similar phenomenon so especially if you have like glass objects like I know some kind of sculptures out of made out of glass this effect is very apparent because you have thin objects like arms and fingers and you have got thick like the torso or head or something so this is how you would do it physically correct but for the most for the most circumstances just having a little saturation and the color brings get gets you a long way anyways and it's a bit faster to render it like this and then you have scatter which is some kind of modulation of particles within your object and you can bring that up and you should see that the object will get a bit like almost sandy looking or dusty looking you can see now how smoky it is and this is because of the scatter so if you have a liquid and you want to mimic some kind of particles in here this is how you would do a dispersion Abbe is a different story though this is kind of the refraction of the light similar like you would see in a diamond pattern that the light is actually traveling through the medium and it's breaking out different wavelengths and I'm not fully sure if we can show this we can it just takes a bit tough time to resolve but for bent surfaces like here for instance you can see that and the response or the the light is being broken up and you get different kind of colors back and this is what dispersion Abbey does obviously this also is very expensive and takes amount of time to render but it's if you have the resources it's I would say go for it so this pretty much sums up the glass or the transmission then we have subsurface scattering right which is our next topic and at the bottom and extra attributes you should change the type to run and walk v2 which is the new kind of algorithm to modulate subsurface scattering objects and scatter objects are like objects like this which let some light through and some plastic as some wax and even some stones or like kind of marble objects they all let some light through and this is called subsurface scattering so light goes in and scatters itself inside it so let's just try to just create maybe this this red color here and then add some scaring to this so also for scattering you will not you will not have any of the fuse colors so disable that I think the subsurface will do this automatically anyways so by default color one radius one scale one and depending on your scene scale this is not what you want you want to always have the scale to be appropriate to the result you want to get I guess so you have a multiply of your scene scale pretty much in here the color itself is the color you see with your eye like it's it's a color you would see when you look at the object but not end on translucent side so I'm talking about the color which is when for instance if the light would be off for the candle let's say this is the color like the color which when the light is turned off is what you would expect and the in the color slot so this candle here has no light on so we can just pick this red color like this and then we should get that color on the top and for our scatter color for the radius I mean you can see now that the color for this candle would be almost like a super pale yellow this would be your radius color for this kind of material and based on the scale then you can achieve how strong it's being scattered and for the red candle it will be a similar color to at least in the same here as this color here so I'm picking this but I will desaturate it by quite a lot and I will make the value 1 so this is pretty much the color I would say is the result when the candle would be on obviously the candle is a bit yellow so it will tint the color a bit so the candle here is not white right so that's why everything looks a bit more yellow than it would be just keep that in mind as well in any case if I now change my scale let's say I put this to zero this is now being treated as a fully diffuse object like as if we would have just a base and now no subsurface scattering on right so let's look at especially these areas here if i zoom in here and I cranked up the scatter maybe two point one you should now see that there is definitely more light being transmitted and you can see the shadow so you are not that black anymore this might be a little a bit too low so what we can do we can just boost it up a bit more like this and now you can totally see that there is light passing through the object even on the shadow sides you are getting now this rich red color and this is pretty much subsurface scattering and this is also what you would see behind your ear right so if you have a light passing through your behind your ears you get this kind of Amalek shoe you can see now that you get this kind of red blood colors through that and this is the same effect here and now that you can see there's some kind of glossiness to this but this one doesn't really have any glossiness and this is just because my specular roughness is pretty high so let's just reduce this to 0.2 and now you should see that we get this nice specular color and we also get this nice color bleeding right so this is essentially what subsurface scattering is and you can use that for all kinds of different materials like green objects you can plug in different Maps and here if you want to get a different look so yeah but this is only covering the basics of these chatters so I will not be going into real detail about how to create more complex shaders I'm just going over the basics for this video and what else we've got Sheen emission and thin film left so let's jump into these guys so first let's reset go back to the base shader we get this this guy back so what is Xin Xin is pretty much a option in the shader which mimics micro fibers pretty much so it's it's similar to what you would see on velvet or cloth or dusty object it's kind of when light hits the surface and there's especially on the edges some light is being reflected back to you so you can see in the rig in my reference here you can see that on the edges you get these kind of dust it looks like there's some kind of coating on top and you can see it here too like this white or pinkish looking color not so apparent in this guy but also on here you can see that in the center it's almost greenish and then towards the edges you get this almost like it's it as if it's dusted off so let's just try to create this right so I want to pick my base color which is this green here now let's just pick that color picking it on the top we should get that green it's almost very similar to the and now I think it's actually like sandblast glass or something but anyways so if I enable the sheen I bring this guy to one we should you can see now we get this this pretty much a very similar effect we get this powder powdery white edge here and then it goes across the surface and the roughness in here just changes how strong this effect plays in so the rougher you would make it the more it will go over the surface like this pretty much so this feels now very dusty yes if you can if you would touch it you would almost feel it's like super soft or almost like fiery I guess and you can also have a color for this so if I'm picking this green color you can now see that it's it's now not white anymore it's like some kind of soft greenish color and obviously this modulation here is because there's some some little stones and it was some kind of modulation but I don't have that right now but essentially this is the color you would get back let's just reset to base and emission is pretty straightforward which is our next thing emission we have on the right which is kind of generating this kind of light from a texture right so this kind of effect or like lava for instance all right so how do we go about this I think the first thing I want to show you is what it does so if I bring in the weight up to one you can see now that it's actually emitting light the floor here got lit up so what I want to do fairly quick is just create some kind of pattern like this lava for instance so I'm just creating an very quick and AI noise and I'm plugging this into the emission color and I'm visualizing it like so and then I'm bringing up the details here yeah just make it super swirly like this and now and we can try to invert this okay didn't do much so what I want to do now is just create an AI range fairly quick and I color correct like that and I just want to hook all these guys up so color goes in here the output goes into mask my color will be I think will be what will it be that's let's get the color to black and put this in here and check the range that's just clamp this slightly so whatever is is white will be glowing so obviously you can stretch it if you once like in the noise itself like that maybe go to high was simple like that so whatever is white will be glowing and then in here what we can do we can just add a color like this and we just fairly quick plug in just a noise into my add color in here and this noise will be now my initial color for the glow enos right so I'm just picking this orange here and I'm picking the yellow sorry I'm rushing this but it should just give you a rough idea of what I'm trying to do okay one what did I pick Oh a super bright value what went above one that's why it was so weird okay and we want to go more into red orange something like that and now if I go to this this is now my emission color right so my base color right now is super gray that's why it's there but essentially this is no my rock and I can use this maybe I can create a bump map quickly just to make the effect a bit nicer let's just do this so now we should have a bump map 0.5 I didn't I just quickly wanted to show you something so I didn't go into much detail here but essentially you can see that there is some kind of bump on it now some surface detail and yeah so this is and you can see at the bottom here how it's emitting light so if you want to have a stronger light source you can just crank up those values here to get stronger light responses and you can see now we got definitely more light at the bottom and if I let's say I just hide my skylight you can see now that it's actually emitting light so this would be a emissive texture right okay let's just disconnect these guys so now we back to our basic shader and then the last step is thin film which is also very interesting because thin film is like a net phenomenon which happens in nature it's kind of a code between a code which has a different index of refraction and then the light is being broken up in that and you can see it on an 'm like on insects quite quite apparently like here on the shell and here on disks objects and then on soap bubbles and this is what how it works you have your base material your base color then you have a thin film layer and then you have a code on top you can have the same without the code so I'm just showing you that's let's just do like a metal like a metal which has been like heated or something which generates this kind of colored effect so let's just bring a metal shader back reduce to roughness like that and now all you have to do go to thin film and bring in a thickness and it's this is an nanometers this value here I think it's ranging from 400 to like 1500 or something so let's just try 450 and now I can already see now we get this kind of color there and it's fairly similar to what you would see on those beetles here you can change the IOR which is the internal this iron here metal as I said has a pretty high IOR so just changing this will check to look for your thin-film as well and you get these different colors because there's a minimal different thickness in the shell here and that's why I get these ridges of color and you can definitely mimic that by just plugging in a map which which changes the thickness like from maybe 450 to 490 we can and quickly do that with an AI range and an AI noise as we did before I just want to give you a fairly quick example of this and we just plug this into the thin film thickness and I think it's somewhere at the bottom thin film thickness like that so right now if I look at my values we get values from point three seven to maybe point seven and we definitely want to go more into the range of 450 right so let's just increase our details here so we get a bit more interesting results maybe go up to five yeah and we can maybe stretch it as well not in this axis but in this okay let's go higher this alright so I have this now so with the range what I wanted to change is I want to change the output range to something crazy like 450 or something so the white should be not 0.7 but it should be let's say 500 so the white let's just see so my maximum color is now 350 and my minimum should be let's say 450 so now my colors are ranging in between that range and I'm looking at the bottom right so it's now 494 60 and we can maybe go a bit higher on the output max and now we have a nice range so if I it removed this isolate selected you can now see that we have this kind of pattern in here which is super cool and if you're now play it up with a bump map so if I use a bump map on top of that so my noise plus bump goes into the normal camera like so and now you can see we have a very similar pattern obviously it's not exact because we don't have the exact IRR of that little beetle but you can totally shift the ranges so right now we're on the 500 range we can try maybe 800 and 700 or 200 and you see you can you get all these different effects right and then this is also dependent on the angle so color will change and this is pretty much a soap bubble effect or call also called I ride essence so we for finishing up this video I just want to quickly show you again the nice book we have here so you can totally see this as the website which is about the book about the authors and actually just gives you more detail about what the book is and you will get the link in the description below so be sure to check that out as well here's my patreon page where you can see the all the different tiers I'm having on my side so I've got the 59 which is actually for all the source materials I have created in previous videos and all in the future video so once you sign up till this guy for this guy you have access to pretty much all the source files that I ever uploaded and then at the bottom here I have my private lesson mentorship tip which will help you to get in direct contact with me and if you want some more direct help if you have really issues with some scenes or just understand certain workflows and this is the thing for you to sign up for and I can give you some in-depth information and I guess a few of you guys know that already I'm on on Instagram here's my feet I do do some photography as well as doing renderings so check that out if you want to and obviously on Twitter well more like the 3d related things like retweeting nice articles and sharing stuff so I guess you all know how that works yeah so this was a basic introduction again to the standard surface shader which is now available with Maya directly and also this stuff is interchangeable with different DC C's like Houdini cinema 4d so they all work together 3ds max for the octopus stuff so just keep that in mind here again is the book I really love the content it's really good quality the prints are amazing and yeah and also I want to thank my patrons which have been supporting me a long while now and it's just super nice to have the support on the patreon side and also there's a little slack channel as well for you guys to join if you want to have like like a little community about my stuff I guess so yeah I hope you liked that I'm in the videos now I think it adds a nice little touch to everything so thank you guys for watching this video and I will be working on the next tutorial right now which is the bit more advanced basic shading set up for this Lego Lego truck I set up and to give you a quick introduction or a quick snippet of the results this is what the final result looks like in a sunny sunny environment and in a studio environment so this will be my next tutorial and I hope this will definitely cover the basics what we did today and a bit more advanced stuff like plugging in textures adding some modulation some color jitters and some more advanced stuff so this will be in next tutorial coming up very soon so thank you guys again for tuning in and I will see you in the next tutorial [Music]

Channel: Arvid Schneider

Views: 21,638

Keywords: training, tutorial, learning, lesson, beginner, advanced, lookdev, lighting, shading, maya, arnold, rendering, procedural, 2020, autodesk, solidangle, basic, getting started, surfacing, cinema4d, houdini, 3dsmax, cgi, autodesk maya 2020, arvid schneider, arvid

Id: aN4sqlfbTBA

Length: 44min 19sec (2659 seconds)

Published: Wed Jan 29 2020