Intro to Mastering Materials using Octane for Blender w/ Lino Grandi

hi i'm lino grande 3d artist from otoy and in this video i'll describe the materials you can find in octane render let's get started materials are very important part of octane render because materials lets you define the all the characteristics of the surface of an object we have several kind of materials we have the diffuse material the glossy material the specular material the portal material the shadow catcher material the tone material metal material universal material and the hair material in my workflow i prefer to use the universal material for almost everything i do but it's very important to know what the other materials are especially because we have the possibility to layer uh down different kind of materials and this can be achieved using the diffused layer material the specular layer material and so on so it's very important to to know the way all materials work so let's start adding a material to the object in the scene so just click on new i'm going to assign the same material to the sphere mesh as well so you know this way we can see the effect on a complex object and on a very simple one and yeah as you add a material as you create a new one the universal material is automatically created you can change that if you go to the preferences and look for octane you will see that you you're able to specify the default material type it can be any any material available again i choose universal because that's the one i so often use in my projects by the way i'm going to delete it so i can add the diffuse material so the diffuse material is a material used basically for dull and known reflecting objects or for light emitting surfaces there is no specular as you can see so it's exclusively dedicated to the diffuse shading and yeah so we have a the albedo here is called diffuse but you know it's just another way to to call the albedo and we can change the color of the diffuse so that's pretty yeah straight forward then we have the roughness option which works on the diffuse shading so we can get some different result some very different result on the shading just operating on the roughness um then we have the bump input you know there are many uh many attributes that are common to other materials bump it's about of course it's about texturing so it needs a texture i'm going to add a noise texture just to show how it works so you can see now we're simulating some relief on the on the surface let's at some contrast so basically yeah we would with the bump we changed it using a map or a procedural texture to to change the the normal uh incidence value it's just an illusion but you know it's it's very good to add details in general i'm going to detach that and then we have the displacement and there are two videos about displacement on the nvidia channel so you can watch them to know more about it then we have the opacity the opacity is basically a way to dissolve the object or better the material in this case the material is assigned to the whole object so of course it's just dissolving the whole mesh but yeah so this way you can [Music] decide which part of the object should be eaten you mean in this case you can use a texture so if we use some more contrast here you can see it basically cutting out some parts of the of the object this is not transparency or transmission is opacity and we can find it you know in basically in all the materials so it's pretty pretty cool very useful um yeah then the edge rounding is something we will see in other videos the it's used in conjunction with the medium nodes and it's there to simulate subsurface scattering so in this case you know we're not going to too deep into it just you just have to know that if you want to simulate uh sub surface scattering using the diffuse you will have to uh you know use the transmission value we i'll make a video totally dedicated to scattering in octane so there will be you know we will analyze our scatter works with all the materials the shadow catcher option also common to other materials is used to let's make an example it's used to capture the shadows projected on an object by other objects i'm going to create a material for the plane here let's add the diffuse material so now if i activate shadow catcher you will see that it's basically yeah capturing now the material is better basically capturing the the shadows projected by by the objects in the scene so if you have to do some compositing over a background or an hdri you you can use shadow catcher which exists as as a material itself so as you can see so you can attach this directly and have the same result but again we have this option for all the materials let's attach the diffuse material back and disable the shadow catcher and let's go on with the next material so what we have now is the glossy material so i'm going to attach it and get rid of the diffuse so even in this case we have the albedo the diffuse so we can change the color as we need but in this case we have the specular value which basically you know um helps us define how reflective the material is so it can be totally dull so in this case it's like using the diffuse material but of course we have the possibility to to get reflection reflections too so that's very very useful and the roughness is controlling how rough the surface is so for very low values like zero which shouldn't be used in general because it's always better to never use values like zero or one i mean minimum and maximum values it's always better you know even to just use just you know something like 0.050 it really depends on what you want to get as a result of course but in general my advice isn't to not use a value of 0 ever for any value so if we increase the roughness we will notice that the specular highlight the specular reflection is going to get more diffuse blurred and you know this helps defining the kind of material we want to simulate all reflective materials in octane have this new option which allows to change the brdf model used for the reflection prdf stands for bi-directional reflectance distribution function and it's an algorithm that defines how the light is reflected by a surface i normally use the ggx model because i find it to be the most realistic i like the way it reacts you know the the light reacts to the reflection and also because that's one of the models that lets you use the anisotropy normally the reflectance of a material is uniform in all directions it doesn't change based on the surface orientation or rotation so it's basically isotropic if we want to make it anisotropic in order to do that we can use the anisotropy value you may notice that if i start changing the value now we don't see much difference that's because the roughness is really low to be able to see the an isotropic effect you need definitely need more roughness maybe this is even too much but yeah something like that should work so yeah this is the value at zero so no an isotropic effect at all but then we can go to one and get this horizontal deformation in this case the speculator gets stretched it's it happens in a relation of the curvature of the surface so we can see some more regular specular reflections and of course we can just do the opposite and make it stretched vertically so we can also rotate the the effect to be able to see that more clearly i'm going to hide statue so we can see the effect only on the sphere so let's add the anisotropy back to zero and unhide our statue xi'an is used for materials like clothes velvet and basically we can define color and also the roughness for the effect if we set the diffuse to black and specular to zero we will only see the the effect of the of sheen so yeah we can change the color and change the roughness value and get some totally different effects let's get rid of the sheen effect and reactivate the specular and also low down the roughness a little bit so um now we're going to describe the index our refraction value which is very very important to control how the reflection behaves on the material the index value controls the reflection strength on the surface based on the fresnel effect with a value greater than one reflection is strongest on the surface parts that turn away from the viewer's angle the gazing angles while the reflection appears weaker on the surface parts perpendicular to the viewing angle you can simulate metals using the glossy material increasing the index value is maximum then you will be able to change the color and then get and also yeah the the roughness and get the needed result the best method to simulate metal is to use the metal material of course or the universal material which incorporates all the metal material functions so we will of course talk about it another feature of the glossy material is the film width you can use it to simulate the look of thin film material on a surface and also you have the film index that helps modulating the the effect so let's take a look at film with using a black totally black surface and change the index to a normal value 1.45 and yeah fill with so as you can see now i'm creating this rainbow effect on the surface it's totally visible on the specular so if we increase the roughness we're going to make it even more evident and the film index helps modulating the effect we can combine it with the color absolutely with specular at 0 you will see no effect since film width is only visible on the specular so next let's add a specular material which is used to simulate transparent materials before proceeding let's activate the octane denoiser so from the camera e major we can activate the denoiser and we also need to activate the proper pass for the preview so the denoiser beauty pass and we're basically ready to go so now the denoiser will do its job just after some samples will be fired so first i'm going to change the model to ggx and we can start taking a look at what reflection and transmissions are doing for the material i will turn off transmission so we can now see only the reflection effect we can change the roughness so now basically our material is not transparent at all but we can adjust you know the roughness of the reflection and also you know work on the anisotropy on the rotation for the anisotropy but let's leave it to zero right now also the index is important and it's important for both the reflection and transmission so let's do the opposite let's just turn off the reflection completely and let's turn on the transmission so now the roughness is pretty high but you know even in this case you can just operate on the transmission roughness in this case and also the index is very important so if we set it to one we basically have no refraction if we start increasing the value the refraction is going to be stronger and stronger so let's leave it at 1.45 which is you know the the value normally used for glass and let's turn on the reflection so now we have both reflection and transmission active we can change the color for the transmission and we can also change the color for the reflection there's really you know a lot of control for this kind of material so let's go back to to the basic values okay we can also use the dispersion coefficient which is pretty important when you want to reproduce a realistic transparent material it's a something quite happy to calculate in general and you never need to raise the value too much look at what happens when you set it to one for example or even 0.5 we get some pretty high dispersion so even a value of 0.05 is going to be quite good and yeah so this is the desperation let's get a little less reflection here also we we have other options in this material like fake shadows um you know normally when if you put like uh an emissive object inside a transparent object you don't get the emission to reach what's outside the object that's uh what fake shadows is for we will you know take a look at this in future videos but yeah it's an option basically used for architectural scenes where you need light coming from outside to pass through windows then we have thin wall thin wall it's an option that basically makes the material look like as no volume no thickness at all and appear more like a thin film object so let's turn off the dispersion and yeah so we can see that now the material is not showing any refraction at all the last material we're going to describe in this video is the metal material so let's add the metal material let's attach it can get rid of the specular material let's analyze the options the metal material offers so we have three different methods to deal with metallic material definition i'm going to set the model to ggx again and yeah let's start with artistic so we have several attributes here we have the specular that controls the reflection we have roughness that control controls the roughness of kurds let's keep it at 0.2 or something like that and then we can we have the diffuse here which is you know strange for a metal which normally has no diffuse at all but you know we can assign a diffuse color to a metal and you know blend the diffuse with a specular with the reflection basically so if i add like an rgb color and attach it to the diffuse even if i change it well nothing happens if i attach the same node to the specular i can control the specular color okay there is this specular map option here which is very important to mix the the values so let me duplicate this i'm going to change the color to like blue and attach it to the diffuse so if i now attach the noise texture to the specular map i can use it to blend the diffuse and specular color this way so now i have you know control over the metallic color and the albedo color independently that's change the contrast here to something like 2.5 maybe maybe five more okay let's get it like that so it's very important to understand that specular map needs an input if we want to mix diffuse and metallic into the same material let me change the colors to something a little different more pleasing for me yeah and okay so this is the artistic method now let's try the ior plus color method so in this case as you can see now the the color we assigned to the specular input doesn't look to affect the material anymore that's because now we need to use the first two values of the io our red channel in this case which is i mean the it's not about the color right now because with this method we're just changing the index the reflection index so i can now control how this color is reflected basically using those two values so this is the the big difference i have more control on on the refraction but the color is still controlled by this node okay so that's it for our second method to define metals i'm going to change the color to something more evident yeah or saturated and let's choose rgb ior now so as you can see if i set the ior value to zero the the color here is not affecting the metal at all even if i you know change those values we're not getting that exact color defined in the color note that's because we're now controlling the the the color of the reflection and the way uh each color component is reflected using the first two values in you know each index here rgb index you can find those values online this website is basically perfect to you know find which values we need to use to simulate realistic metals so you can find the first two values for each index we need to input and octane to get what we need so let's say we want to simulate a gold medal material well i'm going to just detach all those nodes and set the ior to zero for all those six values and then i'm going to copy the values i can find on the website i have been showing you so 0.182.99 and 3.4242 4242 and then 0.42108 and 2.34590 and for the last two values [Music] 1.37340 and one point seven seven zero four zero so as you can see now we have a pretty realistic gold metal material without uh any you know color node attached we're just controlling the the metal reflection using real uh refraction values so that's pretty cool last but not least we have the the universal material which is basically the one i use more often because it incorporates all the materials i just showed you so you know it's basically the octane version of the disney principled material and it's so useful and we will describe it in one of the next videos but you know if you've been going through all this long video you probably would be able to you know to to use it without problems because you will find the same options you can find in the other materials into the universal material that's all for now i hope you found this video useful for you and see you next time cheers you

Channel: NVIDIA Studio

Views: 12,743

Keywords: NVIDIA, NVIDIA Studio, RTX Studio, NVIDIA Creators, NVIDIA Design

Id: 8y7blB0e784

Length: 31min 15sec (1875 seconds)

Published: Tue Apr 13 2021