Intro to Renderman 22 - Materials

Oh perfect okay there's someone there oh no I kind of got bored so I decided to start already you're not early like I'd finished everything that I have I had to finish and then I was just like okay I'm going to start high so the voice is okay it's not echoing like last time it was echoing I'm still so confused with the whole live streaming thing like half the time I don't know if it's working or if it's not working press render okay but that's basically it right now this there isn't much Renda mine is quite nice it's not I don't think it's the fastest around but I think it does a pretty good job especially given the fact that it's free for non-commercial work I think that's that's a pretty good deal like if you have if you have a good CPU like if you have like the the latest thread Ripper which has 32 cores I think it's a pretty good deal you can do some nice work with it overall all right so should I start I think we can start I don't know how many people there are but at least the two of you are there so that's good enough okay so what we're going to do today is we're going to do shadows okay so the basic Pixar shader that you get you get two shaders with with render man let me just close this temporarily so what you get is let me just jump in here okay so before I start that I'll just I just go through my I go I go through the scene that I have which is I have two area lights and I have a dome light which has an HDR so the same HDR had used last time and the base model is from substance painter so there was a competition from substance painter at some point of time and they had made this model free so hold on like if I do a search for it yeah that this one yeah so if you come here you should be able to download this fellow like this is free so you can just download it and use it yeah so this one so if you come down here you'll get yeah you can get the download link yeah so this is so that's essentially it so I have two of these so let me just turn this off yeah so I have you know two variants of this and then I have my lights okay so that's essentially it are you still there are people still there somebody should type something every once in a while okay I I'm guessing people are still here so I'm just going to continue with okay should I wait or should I start I mean still a few minutes to 9:30 so I could oh hello Hey oh wow okay that's a fairly big delay but that's okay I mean eventually I'll upload this like eventually it will be available properly on yeah eventually it will be properly available on YouTube so you can always watch it back you know without the delay I don't think there should be that much of a delay like let me let me see this on another device oh yeah I think so since I don't know the settings as yet I think in the YouTube settings I chose like normal latency which so I think normal latency causes like a 30-second delay between me talking and it actually getting transmitted so I think that's why the whole thing is a little slow render man is still pretty relevant I don't know why people I have no idea why people think that you know CPU renderers are not relevant anymore and you have one of the largest studios in the world using render man and I don't think they are the only ones using render man like Pixar uses it on all of their films and even if they are the only ones using random man they still do an insane amount of things with it so yeah I think it's still pretty relevant and especially especially nowadays with AMD coming out with some fantastic processors and really cheap ones I think CPU rendering is still you know fairly relevant render man in and of itself I think the issue has always been its very II it's kind of obscure like you always hear of it but you a lot of people don't really use it you just like every time you know Pixar makes a movie and then they'll do a few render man presentations so this is for me also this is the first time I'm actually using it and it's surprisingly not very complicated actually it's pleasee you know like I guess the whole idea that you know render man was very complicated and you need it to be like a technical director or a program or to understand I think those days are like long past now it's fairly straightforward like it's if you know if you know Arnold or if you know being a or something you should be able to understand render man pretty easily like it's not it's not a big issue okay so I think okay so I think with that I'm going to get started alright so let me just do a basic render to show what I have and then I will start off with the basic shaders no I don't have that as yet I have to download the conversion because the basic conversion is a little slow you know like the auto conversion that it does it's a little slow yeah honestly I hate I absolutely hate this stuff because Arnold does it as well and rent a man also does it even though Arnold does it a lot faster but I don't get the whole point of you know having like a custom format I mean I get the point that they're trying to be like more memory efficient then you know things are a little little better or handled I guess they're doing it because both render man and Arnold get used on like massive projects so they want to keep everything as efficient as possible and having your own custom you know texture format which you can then compress and do things with it I guess that's better than you know having to use like a JPEG or a PNG or whatever but it's still it's a pain but yeah I need to build up the bash dot TX I'll just look it up online I'll do it next time okay so just to get started we'll just I'll just go through the lighting once like what I have in my scene okay so this is the basic scene that I have and I learned a few things from last time like these were a few tips that were given to me so if you press B you get to see the buckets okay like hold on let me just rotate this yeah so you're not seeing the buckets right now so if you press B like on and off it will turn the buckets on and off so if you find like the continuous you know the buckets running wild all over the place to be a little irritating you can turn them off okay so just to talk about the lighting I I have one HDR and which I have sort of exists Punnett around so I'm getting some light from the angle and then I have one light from the right and another one from the left so this is essentially my scene setup okay now one thing I learned after I finished the stream last time is how to do a final render because I still didn't know that so the way to do a final render and the way to see the render time like these are the parts where you go like okay this is a little tricky is what you need to do is once you've made all your changes you save the file this is very important if you don't save the file it doesn't work and then you come into your Rob net and hit render and background so when you do render in background it will do a proper proper render like not an incremental render oh okay sorry one more thing which is it's going to cause a problem now yeah it takes a few seconds to kick off I don't know why yeah okay so this is again a problem because the mistake I made was that you should come to sampling and turn off incremental so once you've turned that off then you hit render in background and then it will do a proper render so yeah they go so this is this is a doing a proper render my number of samples are very low like right now my number of samples are just 16 which is why it's so noisy but once you do a proper render then it shows you everything right it shows you the render time and you know all of those things so let's bring this up to like 64 and then we can just do another render yeah so if this file is not saved it gives you this error so you have to make sure that the file is saved which is the irritating bit but yeah so if you want to see render time this is how you do it and then if you want you should also like before you start rendering like what we have done last time you come to images and turn on D noise and so when it's rendering and if I press n you see it will probably hold for a second but this is your D noise version don't do it when it's rendering because it slows things down but yeah once it's finished entering you can just press N and it will show you the Dniester version you do get a separate denoiser which I haven't used as it but you do get the random and D noises and what you have to do is you have to connect this over here and then when you render it it gives you a D noised image but I haven't used this so I'll probably need to look up a tutorial for it so yeah that's your different this is 16 samples which was like 14 seconds and this is 6 64 samples which is 50 seconds ok so yeah this is the basic scene no I haven't betrayed opted yeah I'm just I'm when I teach stuff right so I need something new to teach and I honestly don't know how many we will use obtained but yeah you know but I use often but I don't know how much it still gets used in production when he was the bottom line being I get bored easily and I need something new to teach so Renderman was something that I was always curious about and turns out it's not you know bad at all it's actually really good so why not okay so to start with we're going to start off with the basic shader and we will take a look at how to make cloth and then we will continue from there so what I have here is I do have a cloths in which I have just done and we're going to come to the material net and we'll create a builder and I'll call it let's call it diffuse I'll drop it on this and then let's create a create a surface so you get two shaders with with render man you get the surface and then if you type this name then you get the Pixar Disney shader so we use this as well so this is primarily useful if you are doing if you're getting stuff from substance painter so I have set up some substance painter stuff so towards the end of the stream we'll take a look at that as well but yeah the standard one is the surface because this gives you you know all the various things that you need to do okay so let's just let's do IPR and so we can get started alright so what you get is primarily you have like your basic color that you want and you have the gain value which is like your diffuse amount they let me just let me do a region ranger yeah I think it can press B to get rid of that all right and then you can do roughness on this if you want you know more cloths like stuff now along with this if you have used Arnold in recent years or if you have used octane then there is an option called Sheen so Sheen is sort of like an inbuilt fall-off okay so what you can do is if you want to do that come to an option called fuzz and fuzzy saw buzzes like she'll so you can just turn up the gain value and let us give it some color so we can see it yeah it's very slight but you can so what you can do is if you're not seeing it just jump it up to like say 10 and there you go see now you can see it on the edges so you can see like a blue shade or if I change it you can see yeah there you go and you can also address the cone angle to kind of blend it in but there you go see so if you want to do if you want to do like a velvet shader or or something like that you know this is pretty nice so even though the default values tend to lock out at at one you can type in more right so you can go higher if you want to you can also make a double sided but right now it doesn't matter so yeah so you can address these things to get like you know better-looking cloth okay now along with this if you want to do translucency then you can turn on double sided by default do not turn on double sided because it tends to slow down okay and then you can just turn on transmit gain and let's do one thing let's turn off the dome light and let's turn off this light as well yeah so we just have light coming from the back and let me just try to increase this yeah there you go see so this becomes translucent and you can actually make out the model on the inside like if I increase this see you can actually see some of the shape on the inside of you know the little robot but yes if you want to create like translucent cloth or something you can do it this way okay just give me one second okay so this is essentially it so this is as far as doing it does get slow like if I try to do a proper render of this it might not be the fastest thing possible yeah once you turn on everything it is going to die okay hold on let me just lower the translucency amount okay let's try to do a final render so I'm going to stop this and yet the shader overall is really nice like it has a ton of options okay let's try to do random yeah sometimes it starts off really quickly and then there are times when it just takes a long time to pick off what I realized with renderman is I tend to use the denoise are fairly often because the problem that happens using something like octane or redshift is because they are really fast and the noise cleans up a lot quicker so using using a CPU based renderer and I am only using five course it does tend to get a little slow so sometimes like it's like this you know come in here press n it looks clean you're like oh that looks better so yeah there you go it looks pretty decent I just needed render through I think if you want like a very clean image you need to go up to like what am I on I'm on 64 right yeah you might have to go up to something like five one two so you should have a good CPU if you're going to use a render man you should have a good CPU but then that's that's true for Arnold as well like any CPU based render all the same way like you if you want to use octane or redshift you should have like a dual GPU setup then then you get the speed that you want but yeah oh let me just see inspector yeah that's about a minute 24 okay so this is as far as cloth is concerned because I'm going to stop this and let me hide the cloth okay and that's it IP are again alright so the other thing okay so before like this is everything I want to cover today so we just covered translucency so now let's take a look at speculoos and then we'll take a look at attributes okay so let me just they each have a material assigned to them okay so let's call this as specular okay so I'm going to just going to turn off the game and hold on a second so by default you get three layers of reflection with with the basic render man Shiro and it works a little weird okay so you have the standard specular mode is kept to artistic and which is like you get one edge color so you'll get see you can see like the edge reflections let me again just hit a region render on this and I think you get like a friend L amount so you can control you know how much you want so I think if you just want to do like standard plastic or something you can do that with this like you can you can adjust this to bring it in more and what you can also do is so you have like an edge color and then you have a center color which is which will just turn this into chrome like straight up and then you can also define like so if you want like gold or something you just straight up define a color for it so if I want the edge color to be like slightly pink and then I want to like bring that in see if you want to do like if you want to like a rose gold see there you go you have rose gold okay so this stuff is it's more like if you want to do like custom metals and you just want to guess it then you can do it this way or I think you could probably pick up IOR value like advanced our values and type those and over here that could probably work but yeah so this is a little tricky to work with but it's not bad to do like custom metals okay and then you have your basic roughness how much you want and you have your different specular model so you can have Beckman or you can have GG X so the difference between Beckman and GG x give me a second I'll try to explain this is is here okay so if I turn this off and there you go the reflection that you're seeing at the base with Beckman the reflection tends to go like it's trains to stretch vertically okay like if you can see it stretches so if you're doing reflection for like for like a river right so nighttime when you see reflections in water and the lights tent like stretch out so that you can do using a Beckman and GTX tends to blur out you know more radially or normally okay so Beckman is useful for you know this kind of stuff okay so let me just yeah I'm gonna get rid of this or okay let me just turn that off okay okay another thing that you can do is let me whereas my shader again okay so this is artistic right so if you want to do something standard like you want to do like standard plastic and you want to work with IOR values then you keep this to physical okay and with physical the bottom even though it shows a color it changes to like standard i/o are values so if I take this up you'll see it gets more reflective and then you can just define the color so if you want to do something like Chrome then I can probably take the value up to something like 20 and that will give you Chrome so you define like the refraction index and then you define the color that you want but the difference between this is that I don't think I can okay you can go weird with this hmm this is interesting okay so yeah it's it's much more sort of it's not physically accurate but you can get the result that you want okay so it's kind of interesting okay so you can do you can do roughness and then you can also do an isotropy so if you want now see so there you go like it's vertically stretched now or if you wanted like horizontally stretch so you can do yes you can see the difference like going negative gives you like vertical stretch and going you know positive gives you a horizontal stretch okay so this is let's say this is the first level of reflection that you have let's keep this to artistic I think artistic was better yeah okay I like this and then if you come down you have something called rough specular which is technically just another layer of specular I'm going to reduce the roughness and we'll keep it to physical and just get this to white see so now you should technically have yeah you have two layers of reflection so you can see like a second reflection coming in here let me just rotate it so I can see it from a different angle yeah there you go they just zoom another - yeah so now you have like two layers of reflection let's keep that too blue see what we get yeah they go I don't know what extinction coefficient does I think it makes the edges brighter or reduces the fall-off and again you have the advanced option which is an isotropy and then lastly you also have like a clear coat which is again the same thing just it has an it has two additional options so let me just let's do one thing let's turn this off let's see what we get with clear coat okay so again let's just let's keep this to physical with us up the edge color and clear code thickness let's see what we get in okay this is hmm this is interesting yeah so it is a bit much like the the shader itself is pretty huge and got like a ton of options to it and again you can give Roughness if you want to okay now let's get rid of this now along with this you can also get irritants which in octane is called thought I just forgot the name of it the thin-film stuff that you get so what again you can do is let me just lower the roughness here yeah I can just increase the edge gain and the face gain and see there you go so you can define hold on let me just get rid of everything yeah there you go so this is the reticence see so you have like an edge value which you can adjust so if you're doing like bubbles and stuff you can you can use this you can also keep this to physical hey I was wondering if you would show up and you can define the roughness of it so there you go so this is this is pretty interesting when you are not physical then the free nail exponent doesn't work okay it only works when you're in artistic and artistic allows you to sort of like pick two colors so I guess if I change this to something yeah there you go oh yeah Renda man has really good materials but yes if you keep it too physical then you can come through you can reduce the film thickness for it to change and I guess you can also do an isotropy here yeah so there you go yeah so if you like mix it with this then tada this looks interesting so I guess if you want to like a pole or something I've never really done a pole before but I guess this works this works extremely well let's try to do a final render of this okay I'm going to save this into a final render where are we no the lights are not colored the one light is slightly yellowish but it's not colored there is one HDR like all the colors you are seeing I shall eventually get to volume renders not as yet I have tried a little bit on my own they are not the fastest but you get the result who that does look really nice this is easily the best-looking yeah I just saved the file the difference between random man and octane is somehow the colors in random and seem a little natural and the colors and octane feel very saturated you know like if you try to do the same thing it it comes off as being really saturated and the Enderman tends to sort of manage the balance a little bit or like as far as colors are concerned yeah okay so yeah so this is this is as far as innocence is concerned okay so let's continue with what are we continuing with okay let's quickly take a look at attributes because it's not particularly complicated with let me type ER again and we're just gonna take a look at okay so we're going to take a look at attributes so what I have in here is if I come to my model where is my model there it is okay is I have assigned like a bunch of colors to this and I have also assigned custom attribute called s where the head and the base have an S value of 1 oh yeah random and definitely has better R and D I mean who who in the industry would have better R and D than rent oh man I mean it gets like it's a perpetually battle-tested renderer okay like every single time they they're using render man on a movie like like even if no one else is Pixar s so they are always like figuring out research and development yeah so if there's anybody if there's any renderer that has gotten gone through more battles it has to be like rent oh man there won't be anything else okay so just how to send up a Tribble so you don't need to do anything like you don't need to click a button or anything anywhere all you need to do is you come and do the shader and now here's the CSS silly part right so what you get is there is something if you type attribute you will get something called Pixar attribute that does not work okay what you need to do instead is you need to look for something called primitive variable or prim bar okay and if you take prim bar and you need to define what type of attribute you have so we have a color and my variable name is CD because the color is called CD and just connect it and they go cut up below like it's pretty straightforward and so if I connect it into like a color correct you know the input is up here and then the output goes there and then maybe I can just take the value and bring it down a little bit and maybe adjust that yeah so you can do that it's fairly simple and then similarly if I want to bring in like let us give it some spec you know so I'll send it to physical and we'll give it some specular and then let's say I want like we want to bring in that s variable that I had on the S attribute that I had so I will again take a primitive variable and we'll bring in s and I think if I just connected I should see they go so it's black and white and what I want to do is I just want to control let's say the roughness so I can take the float value and put it into put into specular yeah there you go so that is rough and this is blurry like plain and simple and then you can also do something called as a remap okay let's let me just try this I haven't tried this okay and then what I can do is let me just disconnect this and okay so we're getting our like this is a value of zero so it's not getting blurred out and then this is a value of one so it's getting you know rough and what I can do is I can come to output range and I can say whatever is the value of one should go down a little yeah so there you go so you can control it that way and then I can just bring this back okay hold on a second yeah maybe I need to hit IPL again hmm something went wrong that's weird I have no idea what just happened okay I think we just found a bug let me just try this one more time I have not used the Maya counterpart yeah I think something just went wrong yeah I have no idea something went wrong I mean it was working and then it stopped working I have no idea why that's still working okay so this attribute is still working but for some reason Oh hold on okay yeah my mistake I made the diffuse color I made the diffuse gain zero okay yeah that was stupid no nothing broke I just I did that like the gain value was at zero yeah that was my mistake this only wondering like this attribute is working but that one isn't yeah okay yeah anyways so where were we so this is attribute so this is not you know complicated stuff okay now let's come to something complicated so we are going to take a look at subsurface scattering okay so let's take a look at subsurface scattering where is it so I'm going to make another Builder and let's call it subsurface scatter fix our surface okay let's assign it to this guy okay there we go okay so get rid of the gain all together and come to subsurface scatter I think there's a glow value right here like in this turn that on there you go you just have a glow shader okay so you get something called single scatter which is which is sort of cheaper to calculate I don't like it at all because it looks terrible but anyways let's come to subsurface scatter no first of all when we when people are talking about rnd and how much R and E Pixar does this is an example of that like this is what like six different types of subsurface scattering like that is way too much okay now if my knowledge is correct Jennsen dipole or the second one is what is used by redshift and probably obtained and v-ray as well and Arnold uses something called random walk which is the newer method and it's a lot faster now Renderman has a method called exponential path traced and non exponential path traced and I feel like that is very close to two random walk it could be I'm not sure but the result seems very close to random walk okay so let's just start with tension dipole and the way it works is simple like you just turn on the game and there you go you have subsurface scatter and you define the color that you want so let us define a color oh hello yeah but I think Jensen is old now like especially even speed wise it is very very old and I'll show you like how how much slower Jensen dipole is from non exponential part rest is like the difference is very very huge okay so I just come in here and I'm going to take yeah so you have the basic color and then you have like a path color which is sort of like absorption so you can define see there you go it sort of like mixes in with this okay so if it's based on the Disney paper then there's a 99% chance that non exponential path traced is a random walk okay so you have your basic sub surface let me try to do something let's turn off a few lights so I'm going to turn off the dome light and no keep that on keep this off okay let's try to just bump up the light intensity a little bit okay actually screw it like we just turn on both of them okay and then what you want to do is just like lower the mean free path distance yeah and that defines like how much light will penetrate so it's fairly straightforward like it's not overly complicated and then you have some advanced stuff like you can do a post tint so if you want like the whole thing to have like an additional color value to it honestly in like even though I have used subsurface everywhere like this is you get these three colors it gives you like a pretty good result overall okay and then you have some trace control and here I don't know what that is so screw that okay where were we say let me just keep this high enough so this is this is a Jensen dipole and then this is Dion better dipole and then you get something called Burnley normalized is that you can't make out too much of a difference except for this one this feels like a subsurface scattering pass and really huge okay I'm not using that okay then you come to exponential and the difference between exponential and non exponential is not much but between this and Jensen dipole there is a fair bit okay so I'm going to do let's do one thing let's do a render with Jensen dipole and then we'll do another render with with exponential so I'm going to stop this will save it [Music] I know I should just give it give it a second let it render through yeah it's going to be noisy in a larger scene that I had rendered Jensen dipole took about five and half minutes to render and exponential path traced took about three and a half minutes to render so there's a very massive difference between the two now I don't know this is a smaller scene or a smaller model so I don't know if we'll see the same amount of difference but yeah there is a speed difference between the two which is what made me feel like exponential path trace might be random walk because there is like between the old model that Arnold had which I again believe would was based on Jensen dipole and the new one like random walk random walk is a lot faster okay and then let's just come in here and set this to non exponential path traced even in their rendering tutorial they said you should use exponential path traced like there is a skin tutorial that they have yeah the first thing you can also notice is that the light tends to the light tends to bleed a lot better in the exponential path traced version in comparison to you know Jensen dipole yeah this is definitely it feels like random walk yeah let let it render but okay I don't know if we will see a speed difference between a scene between a scene like this but I'll go something on Twitter just to see the speed difference yeah actually turned out to be turned out it takes longer but they go you can see a fairly massive difference between the two like the light tends to bleed a lot better in exponential pathways in compared to Jensen dipole anyway so this is as far as subsurface catalyst concern and waters okay hold on a second you have a few other parameters in here like you can define like if you just wanted to be like very very precise and small you can do this if you want to blend it in to diffuse you can increase the diffuse blend see now this is just a diffuse model like the subsurface scattering okay so if you want it to be like 50% diffuse and just have like a little bit of a bleed in there you can kind of control it this way see so this is subsurface like let me just increase that and then you can just sort of blend it yeah so it will go on at a faster so like if you're doing skin and you don't want you know that much of a light bleed coming in you can kind of blend it and then you also have like an additional bleed option which kind of makes it even more I think it goes towards wax see now this is this is like this is VAX and then you have something called directionality which i have no idea what that does yet what do you do they all have to do a proper render to see it but yeah forget it yes it takes too long to render and thank you okay so this is as far as subsurface scattering sound I'm going to turn it off so I'm just going to go to diffuse blend so it says diffuse right now okay give me one second okay let's bring back the dome light as well and I have a third model let's take a look at glass it son is gonna turn on like I have this the same model here like it just really tiny yeah and let me come into the material net no it's not over yet I'm still doing stuff so let's take let's call it glass the only issue I have with glass and render man is it doesn't have dispersion which is very weird like that's an odd choice to make okay let's say trend yeah I'm gonna draw a tiny little box there glass gets slow which is why I'm keeping it like really tiny okay so get rid of diffuse and come into glass you can turn on reflection gain and you can turn on refraction gain and glass simple like it's not complicated and then you can define a refraction color if you want okay now comes the tricky bit okay if you want to do absorption you need to work with something called extinction and the problem with extinction is that it goes in the opposite direction okay so if you want if you want like a red color absorption you have to like take the color wheel and go in the opposite direction okay so just take this and then set it to blue and you'll see something happening but not a lot now the problem is this is again something that should be like a color and an extinction value but sadly the value is not there so what you need to do is you need to take the value here and pump it up and there you go now you start getting you know a color so if I wanted to be like pink they go so you have to go to green and then the single scattering albedo just I have no idea what that does he's like it turns it into scatter but not a good idea anyway so like if I really wanted to be very absorption like I can take this to like 25 see there you go let's try to make it yeah so you can increase the roughness within this if you want to let me close that and let me try to zoom in a bit on this guy yeah there you go so this is this is the basic stuff you know not not particularly complicated so as I just take your extinction value and then take the value in here and the higher you go the more dense the class gets you know and the lower you go the less it gets and then you have like scattering directionality and I'm not going to go into scatter it just it gets very weird like I don't know what it's trying to do and it gets very slow like it kind of turns it into frosted glass which has like subsurface scatter in it but the render time dies okay well good night yeah I'm pretty sure it must be quite late my brother is in Australia so it must be very late for you why are you still awake go to sleep but there you go like and this will be recorded so it will be like it will upload to YouTube you can watch it later but yeah there you go and you can see how noisy it is so yeah I don't like doing yeah so this is it essentially like this is most of the stuff that we want you can give it then you can do like fancy things like into shadow color if you want to just shadow color that is a very difficult thing to answer the difference between path tracing and ray tracing is complicated oh-ok was the conference good I just watched a few trailer like mostly I think everybody just went crazy about Keanu Reeves like Oh Keanu Reeves and everyone just went apeshit but most of the cleaners looked okay like nothing really caught my eye except well cyberpunk 2077 looks nice I am NOT a gamer so I'm not going to pay any play anything yeah as a VFX guy I just teach so I don't need to work late night you know like yay for me okay so anyway so this is it so this is as far as most of the material stuff is concerned like if you want to check this on something interesting I can turn this off and I have like I made a simple you know like a liquid thing on top and there you go see so the same shader but on like something proper yeah I posted this on Twitter so you can see like the proper image on Twitter okay so before I close the stream the final thing we want to do is a let me just open up substance painter yeah there you go like that's an explanation okay so what I did was I made a I made a substance map or a shader for you know this little guy here and we're going to use those to sort of build a substance map as level is open it to show you what I have yeah they go so this is what I have so I have exported all the maps and everything and what we're going to do is we're just going to rebuild this in render man hey and yeah so I'm just going to come in here and will again create builder and we will call it substance so let's assign this hmm yeah let's take okay so now we're not we're not going to take surface what we're going to do is we're going to take the Disney shader because this has the standard like you know base color metallic and roughness workflow which is what we want okay so let us know and let me hit a region rental okay so I'm just gonna type in texture and you'll get something called Pixar texture and we can come to textures okay and I have converted them already so I think I should just use those because it takes a while to while to convert so this is the base color and I'm just going to connect it to base color and there you go hey let's also do one thing I'm going to just do a color correct this is weird right like you can just take this connect it up there and I'm going to increase the saturation this is this is HSV I I don't have a favorite kind of tea I just drink tea I mean I know there are a there are a lot of varieties of tea that are available in India but yeah I just drink like a brand you know nothing particularly fancy yeah there you go okay so like I'm not like a tea connoisseur or like a coffee connoisseur I don't I don't understand the differences okay and then let's take another texture and we will pick up the metallic where are you yeah metallic and then just take the float value and plug it into metallic and there you go and then lastly we just want to pick up the the normal map so again take the Pixar texture and you will find the normal map there we go and this comes into now what you need to do is you need to actually this is the wrong place to pick it up you need to take something called as a normal map okay so you'll get pics our normal map and you can pick up the map in there okay so just click here and pick up the same map yeah okay and then we sorry we also need a we also need the roughness so let's pick up the roughness yeah there you go roughness okay so first let's connect the roughness I can just take the RGB value and plug in roughness and see now I can start seeing the the carbon-fibre shader over there and then lastly I can pick up the normal and plug it in to bump normal and then you have done so it's pretty straightforward like yeah it's not like and you can control like in the normal map you can control the bump scale if you want to you know like if you make it zero then it's gone so you can define a little bit like that and then just as a final thing let's say if you want to take like a custom texture okay so let's just take something like a check or map and let's plug that in yeah you should YouTube automatically records and uploads so I can just connect it to base color see so you get that maybe just disconnect everything and then if you want to control like the tiling of this type in manifold and you'll get something called manifold 2d you know what I love about every render engine everyone has to call their basic maps as something weird like why is this not called mapping like why is this called manifold so but yeah okay so let us connect that into manifold sorry wrong place manifold okay and then you can just control the tiling bingo that are done okay so let's say if I want to use this to build like a metallic shade out so what I can do is okay so I can take like a mix so I can take a Pixar mix yeah okay and then plug this in here and that goes out there will turn on clamp and then I can just give it some color so let's say red and blue okay and then I want to use this to control the metallic so I can just take you can take a remap and the result comes in here and then come to output range and I will plug in the result are into metallic and they go so we can define like maybe a little bit Alec for everything yeah and then lastly I also want to control the roughness so I can take the same thing plug it in to roughness yeah and then I can define like this should be around 0.3 and this should be around 0.8 there you go okay now the final thing with this is I want to use this on the bump map and this is where it gets a little problematic because I couldn't figure out okay let me let me set it up so you'll understand okay so I'm going to take a bump map okay so we'll just take a Pixar bump and I can take this value plug it into input bump and the result goes out to bump normal and there you go so you have like now what you can also do along with this is I can actually take the normal map that I had where is the normal map whoa hold on yeah they okay fine yeah I just didn't swim out enough okay and then you can plug that into the normal and so now you have like both of them see so the the normal map that we had from the substance is also there like you can see the crisscross pattern but now what I want to do let's say is I want to control the bump amount okay and the problem is if I control this then nothing is really happening okay like it's kind of controlling it but not so much okay so what I realized was that if I want to control the bump map I actually need to multiply it with something okay yeah okay here's the bottom line every render engine can render volumes it's just how well do the render it but yes I mean random and is used by Pixar or movies you really think that it won't be able to render volumes yeah that would be like like oh we can't render volumes with our renderer like that would be ridiculous okay now what you can do is this and this is where it gets a little weird so what I realized was you can make something called as an AC expression this is a weird thing to do okay and then I can just put in the color input or next put in the floated and I can take this out here now it's gone temporarily because it doesn't know what to use so it's called float input one so if I type and type in the way it's type there so the eye is capital and then go see your bump map is back but what I want to do absolutely like lots of highly viscous fluid you can do that India I mean Maharashtra okay and then multiply this by something like this is weird right so go into 0.0001 and now you can actually start controlling the bump amount since I at 0.01 it's still pretty strong like let me get rid of the noise in the normal map yeah see so now this is like it actually like at 0.1 it barely makes a difference see like you're not getting any difference here okay and then you have to sort of like go very very low yeah so 0.001 is where I realize like okay so if you want a bump map to be like barely affecting see they go at so that's four zeroes you know this is this is how low you need to go for it to work yeah so a see expression and then just go to like 0.1 yeah and then we can mix it with the normal map yeah so this is it so this is okay stop doing that okay so this is building shaders in in render man I still have to go through a lot of things because the shader build on itself is very huge like if you look at the number of patterns it has it's got a pretty massive amount of patterns I still haven't seen most of them some of it is pretty good and then some of it is not very good it's got the nice procedural textures I still haven't done displacement so I don't know how that works vector to float and float to vector is strange I haven't figured that part out as yet so yeah so there are things I still need to work out but yeah overall like if it is doing very standard shader building it's pretty nice like it's not complicated and it gives you a lot of a lot of variety like though the base shader is pretty massive and you can do a lot of things with it yes I think wow I think I've been online for a fairly long time okay so yeah this is essentially it I don't know what I'll do in the next lesson I think I'll do like displacement or something I guess that will be better and maybe here okay yeah so let's do one in the next lesson I'll do like skin and hair and displacement I think that would be a nice nice enough thing to do okay and then I'll eventually get down to like particles and volumes and stuff okay so hopefully next week I'll do another live session and good night bye

Channel: Rohan Dalvi

Views: 5,452

Keywords: renderman, houdini, rohan dalvi

Id: TSU2yI_N2OM

Length: 75min 59sec (4559 seconds)

Published: Tue Jun 11 2019