Lock-Down Blending #2

hello everyone hopefully you can hear me clearly hopefully anyway it says it's working so I'm gonna assume is you let me in the comments if it's not um so yeah this is where we left our scene off yesterday kinda um I kind of cheated and and set the scene up a bit better for what I want to focus on today but it's basically the same I did a little bit of work to the glass model and the floor and I'm putting a an actual image in the back plane there and but other than that it's exactly same oh and I think yeah an area lamp and just stuff more closely match my original scene and because I found yesterday was very kind of disorganized all over the place which was obviously my bad and but we're gonna be hopefully a bit more focused today so I've set up this layout on the shading window to make it nice and easy to see and and what we're going to be doing basically if I jump back to this for a second is when you look at the default glass shader which I'll just turn on now um compared to our reference image here we're really not getting the the same sort of result we're starting to slightly get these nice be me sort of reflections you can see it just about falling but they're not strong and so we'll be hacking that too to make that stand out more and you're also notices and caustics going on here which we're not getting at all in there in this render maybe if you did it for like 8 billion samples you might get a fraction of that and but what I'm actually gonna make sure we're doing is good it's off already and that's what a mutual caustics were disabled completely because we're gonna it's all going to be faked so let's jump over to our shading panel and make a start on that now before I do though um I would strongly recommend if you want to look into this in more detail take a look at this video here the advanced glass shader in cycles by good old glare buddies rubber duck and yes it's excellent the list the first part of this stream is literally just reading nodes from that I stripped up quite a bit out for simplification but yeah it's great tutorial so if you've not already for some amazing reason you've not heard of that video then yeah go watch it cool so first thing we're gonna do is take off the wall shader and we're gonna do the old shadow trick on it yeah um because one thing you get with blender glass if I kind of move the camera you know it's a really thick kind of dark shadow which you don't really tend to get the glass in the first place and it's also horrific every horrific if you try and use it for window glass cuz it doesn't let any light through and yeah you've probably seen this before so we'll grab a mixer no a mix shader' thank you and a transparent shader and all like path mode like so and we're gonna take the shadow ray and drop it in there and then the transparent ray and drop it in there and you notice the shadow disappears yeah and very common trying to fix that you dorm window glass and various other things but yeah and one good you know is press ctrl H because that just hides everything other than that the output that you're using works on a node really handy and yeah so we've got our transparent node now it turns out the transparent node is actually really powerful this load you can do with it and oh god little no hello Peter hi I'm waving I don't have my camera run because yeah it's not working properly in the lighting is horrible so yeah yeah the transparent node is insanely powerful for manipulating glass so if I for example I spent an RGB node I'll be deleting these in a moment but I color mix and a value node let's do this set the value to one set that's a mold supply and then feed that into transparent this is an example now I can manipulate the light that's coming out of the transparency as it's gone wrong weird oh there we go see ya sorry as I start to play with this because that was set to not full brightness yeah so even on a value of one you know it's are now manipulating the the shadow and creating this fake blue light that's coming out of absolutely nowhere and I knew that if I multiply the the amount I can increase the brightness and you get this kind of crazy crazy blue beam coming out of the air coming out of the glass and I just like to set that little notice up so you can see what it is we're gonna be affected today we're gonna be using this to generate fake caustics yeah because what we're essentially doing is saying all right blender if it's gonna be a shadow ray instead of using the glass sherry use a transparent shader and then because we're manipulating the transparent shader to give out more light than these physically possible six times more light at the moment and coloring it blue we're getting this this this awesome kind of war P star treky looking effect which is kind of cool but yeah that's that that's that that's what we're gonna be manipulating today so let's delete those and we need to start off with two nodes such geometry no geometry and a vector math hello where you hiding there you are I'm gonna set this to a dot product and then we want a normal and incoming that was it yeah so normal and incoming and then the dot product okay so if I just see what that's doing that's how quick your prepaid a color app so we can exaggerate the effect well you know there we go so let's have a look at what this is doing now as I start to move around this glass you'll see what areas are being masked so the edges are black and the more direct sort of facing angles are white yeah but it but it's it's quite different to if you were using like a a for now it's I can't think of the right word but it's yes exactly what we need for for mini playing glass so if I use that create a bit of room trying to remember to keep things oom din so it's easy to see unlike a little YouTube video which is something I often forget um but what I want to do here is just play with the with the ramp here to give us a more kind of interesting result so that you to black as well and then maybe have you as white yeah because this will be controlling that that fake like the we're sending out so I'm trying to just give it kind of a kind of an interesting shape and to work with based on that if that makes much sense probably not yeah that's not looking too shabby I will have to fix this in a moment actually because one important thing is I only want this to apply to the outer layer of the glass and the inner layer it's just gonna literally let the light all the way through I don't think it will matter too much at this stage cool yes looking about right Oh okey so if I were to this connect this up to a hundred one a math node to give us some control over the strength just it's one for now but I want the control in there and if we were to there and connect that up to say a color mix set to color just so I can now change the color of this as well if I want just basically wandering now it's just building in extra controls yeah effects if I'm not gonna put them all playing there I'll multiply the overall effect at the end good but because we're working in color now I'll use a mix RGB instead to set to multiply and then put a value node so you've still got a yeah the ability to control the string for this if I said it's up to blue and then I can increase the strength of it they're good cool and what we'll do is we'll feed that into the transparent shader instead and then turn on the glass shader so let's see where we are now and obviously we don't want blue we're probably going to eventually want this if you look here it's kind of an orange color it's the beer doing that we've not actually put the beer in there but let's let's imagine that we've already done that and already got our delicious beer sitting in our glass oh sorry I just saw your question all of these streams are available on my channel there's a there's a YouTube playlist well there's a place on the channel called streams and they're in there so you can you can jump to the me anytime cool so um yeah let's imagine our beers in there and we're gonna try and replicate the saw he said sort of orange a dark orange II sort of color and that's about what we've got there so we're starting to get this almost caustics like effect and we can change how this looks by adjusting this color ramp so if I want the caustics to be a bit more tight I just slide all these up a little bit and it starts to bring it in you see I want it a little bit out to be honest and you could even go even further with this you could create another never stepping it here ya know doesn't like being zoomed in too much and then yet another one over here to black we'll just see this kind of weird pattern whickering here the more kind of weird transition effect you want that's that's where you did it that in and that looks pretty well we can control the strength of the effect here if we want to go kind of crazy or even if you want to see exactly what you're doing before you get the value right you can just crank it up a little bit that's what I'll do for now live them too just so we can see what we're doing and we're starting to get a nice little effects the only problem is it's too linear it's just this big beam of light coming out so so what we'll do next is limit that effect down and again using total fakery and just hide the outputs on that and then I want to in texture coordinate node do I need a mapping node up are we putting in out of those and a noise texture and let's have a look so we're gonna use this to break up our air effect now what I I tend to use noise noise texture is based around the object because if I go down a little bit again I'll use a color app to increase the contrast so you can see what we're doing that's not what your work is it why are you not working I figure hi cool okay when you use a noise texture we've object um it doesn't get stretched if you use it with generated coordinates the scale processing the scaling goes quite different and United States its kind of stretched out and waste extra stretched bar for this particular use case I actually think that looks good so I'm gonna use that just scaling a little bit at the detail but eight or maybe ten yeah I'm gonna lower this down a little bit lower the contrast of it and then I said she all we got to do is mix this in with the the output of the weird little cell we've got here I don't know what to call it so I say this to mix and I'll just set that bottom value to black and then we use that as a as the mix factor so now if I look at that you'll see what it's doing yes it's breaking up our really thick fake caustics mask thing and adding in a bit of variation so when we look at the end result we start to see the light getting broken up a bit yeah happy that looks pretty groovy what we do want to do though is continue to play with this I think I want to go a bit higher maybe twelve and maybe increase that contrast a little bit why can I actually see you and this is gonna kick in ah there we go see how he getting this kind of like nice funky pan now just gives that that impression of of caustics and the good thing is it reacts to the light that's coming so if I were to grab that area lamp wherever I put it and move that around you see how the it's still it's still costing the correct shadow and generating these these this kind of caustic effect she was really kind of nice and present back to our camera view it's yeah it's bordering on believable and I'd want to probably adjust the location of the noise a little bit try and get a little bit more close to the edge there but yeah I think I think that worked nicely for for what we need I'm just looking at my notes here for the next step I know the professionalism is amazing isn't it cool so yeah pretty much the same okay ignore me okay so we've got our our fake caustics pretty much in place I guess um so let's keep this nice and neat because this shade is just gonna get more and more complex as we go on and so I'll grab all of this stuff except the glass I don't want the glass and I'll grab that but in your frame and this is our fake acoustics so let's call it that nice okay so the next thing if we look at the reference image again we've got kind of this these two light beams of light let's rethink orange beam and this really thick white beam coming out and causing these lovely bright reflections on the desk and we've kind of got that with the default shader and but if you render this out which I've done the noise just it just ends up as nothing it's like it's barely even noticeable it's nothing even remotely like this initially I was like all that just means I need to a strength of the lights and I did and it just there's no way the glass shade will replicate that kind of effect so we're gonna take matters into our own hand because why not so to start with I'm going to grab the these nodes here and copy and paste that's it'll tip actually if you control-c control-v rather than shift d nodes that are in the frame the ones that are pasted wouldn't be in the frame if you shift d50 this one is still in the frame and then you have to hit old Petr Cech get it out which is a bit annoying sir yeah nice guilty anyway now I'm gonna you run over here and connect up another color amp awesome now this one I'm gonna flip the effect over laughter you can already see where this is going and I'm gonna bring in this black level and then up white so this mask is just gonna be the edges of the glass because that's the bit we want to focus on at the moment okay awesome and then what I'm gonna do is I'm gonna mix it with a color mix and let's just dump it straight into a transparent shader again transparent like so and then oh we're adding another mix shader' and then bring our result from over here into that and I'm gonna need another light path so this one is gonna be slightly different I'm gonna set it to I believe it needs to be a firming my suspicion there yeah alright so this one is going to only affect the reflection ray okay so you'll notice now that we're starting to get messy so yeah if I knew that's where we were before you see this this lights coming in and then when I mute it go absolutely nothing which is a bit disappointing however if I grab a mixed load and so it multiplied and then input value to x and scale that up aha we now have our rubber thick reflective light coming out I like to do every all that cuz it's a 50 if I want go completely over the top but we've we've replicated this sort of effect that we're after I've got a bit of extra light creeping in there I could probably fix that by tightening up this little mmm I don't think so remember move it a tweaking you get it just right it's also possible cuz obviously this is based on the light that's coming in and the light that's being reflected it's not completely faked or anything so some of this might be to do with the actual writing that's coming in which is why it's after this angle so yeah it's it's pretty close and but it's white which yeah that's not what we want so we need to build in another layer here lay another set of noses suppose set it to come on like we did before but for this one um but just yeah just demonstrating we've now got control over the color yeah see and so I'm gonna really go fake here and this wouldn't work from any other angle the trick we're about to do now it only works for this shot this is the shot I care about so that's fine I'm gonna add in a gradient map you can probably guess what I'm gonna do at that point is that going from left to right kind of antsy convert car ramp I'm kinda I can either rotate it mmm hard to tell where she isn't it no that's about right yeah I'll do this anyway okay so we're gonna use this gradient map and the color ramp to color the effects of this yes so this black I'm gonna change to as we can see in the reference picture a really kind of bright rich orange sort of color and then leave that at white and I'll free date there and Kate it up and yeah we're getting there the orange is a perhaps a bit too and it was more strength though yeah that's probably a bit overkill isn't it its head you want this thing to pop yeah I suppose we can each do a render it's hard to tell how it's gonna look when it's finished but we definitely do want it to pop let's try a so a bit less saturation in this orange yeah it's getting a bit more like it and leave the white as it is what a probably will do though is says to you what's a good one you know what I'll just drag them in a bit yeah that'd work cool awesome so we'll call this and know what you called it really fake reflections already the reflections is a fake refracted light reflective light who knows I'm just gonna put in a frame then we'll call it there I'm gonna get fake reflective light there we go if anyone's got any suggestions on what I should actually be called please let me know yeah cool umm and the good thing is because this is all based off of the initial glass shader it makes your things really simple not obviously from this point onwards we probably want to make adjustments to adding in some surface imperfections in fact looking at the time I might even go ahead and do make a start on that and the actual glass shader itself is completely accessible to normal roughness and normal input supposed to work in the normal way all we're doing is doing some treat tricky sort of sneaking around with the light passes after the fact we're not we're not creating this complicated glass shader and we've got controller every little part of it along the way which yeah I've heard it's a really nice way to work and once you get the hang of it it's actually not too bad this is a perfect example of the problem with the course it's work regardless of the angle and the light that that's that's nice and reusable the fake reflective light it's so shot Pacific as specific as I start to move the camera around we're still getting those effects yeah they're not exactly the same but they're pretty close so it's definitely not an all-in-one solution where you could copy and paste this on to other glass or anything like that it's you have to get it right for the shot but who cares if you get a nice end result in there you're on your way to winning at you and so what I do want to do though at the stage is separate out my glass because its effect is going through two layers of glass and that's not really what I want so I'm gonna rename this material so a pint glass outer and I'm gonna create a new material and call it I don't have to spell in there we go okay I'm just gonna jump to my I have a view for a second and let's have a look at the glass model as you can see it's a bit different yes laser as in the little lip and remove some cuts and pitting some UV edge splits and stuff just doesn't make sure we could not I have to mock around me today because that was not fun yesterday in my opinion and so let's just grab the face selects and select just the outer bits yeah it's working we're on that bit and that bear to be the outer and in theory everything else will be the inner I think it's still trying to grow yeah it's kind of grabbing that bottom bit where I can tell it not to do that well let me invert this for this I suppose select invert and then I'll just grab these last bits of manually cool so we now got almost damn you damn you there we go so now I've searched all the vertices for the the inside of the glass I can go to my material sign those to the inner part and now if I go back to shading we should see the inside being all diffuse good so we've got our inside glass bit we just bring back the rest of the scene jump to camera view again and all we gonna do here is just add in a glass shader like so but you'll notice all the effects of God yeah well maybe not all of them but it's certainly having an impact and the reason is the outer layer of the glass is working on its magic by processing those those shadow race or the Rays that should be shadows but we're diverting them into a different course now the innermost layer now because it's just a normal glass shader those rays aren't getting through yeah it's just creating a normal shadow so what we need to do is let the light pass through the inner layer of glass so it's just the outer layer of glass that's creating the effect hopefully that makes sense so yeah like half shader mix shader' transparent shader and then a shadow ray and then our caustic snow everything else should magically come back yes they do and we've now got two separate materials to work with because before the meet the sort of finished result we're gonna want to create this nice kind of build up heave foam sort of stuff on the inside whereas on the outside we're gonna want like no smears and smudges maybe a fingerprint and that's that's separated out so we can do that now you might want to make some vertex groups yeah yeah it would be I'd say well we'll probably have to do is make quite a few UV maps for all the different textures and that's how do you do it on that on my first run around I think this time I'm gonna try and work off one UV map and just use mapping nodes to change the scales but yeah see how that goes and it's only half-past got a little bit of time so I'm gonna start on the exterior imperfections before running off a render to see where we are in fact no I'm gonna run a render now and use this opportunity to have a quick drink so all good samples are probably too high actually I thought I'd have to go pretty high with glass but because we're faking so much of it you can actually get rid quite a bit less I'm gonna set this to twelve to four twelve and twelve yeah that's had no impact whatsoever as far as I can see and should speed things up so cool so let me just run a render and then a mute the microphone for a second and I'll be back in just a moment you you okay so we've got our little render there and yeah it's not looking too bad um the things I'd like that quite sure why this area is looking quite so dark that's definitely something we'll need to address I think but also I could tell that least fake like reflection like things these beams of light they're yeah they're not as strong as I would like so I'm gonna go with my and this show feeling and jump those up to 20 it seems crazy but I think it's them noise doing that I think once that actually renders out um that'll look quite nice it definitely looks over-the-top in that image but I think you'll be fine so the next steps I want to get fruit is adding some imperfections to the glass yeah so for that I'm gonna be using textures that I can't share because once again I used polygon textures because I work there so it's kind of my default on this this folder on my storage drive that's got pretty much every polygon material on there it just makes sense for me to to go grab them and but if you don't want to use those a lot of these can be even replicated procedurally or free--free kind of equivalents can be found though if imperfections it is tough I've gotta admit uh I found it really hard to find it any good surface imperfection textures that are free but yes that's CG for you sometimes okay let's start with some general dirt wipes this one here now when you're working with blender I find typically the excuse me that's not hmm Oh apologies the lost my trainer for yeah and there's two types of surface imperfections especially on polygons you'll notice there's the white marks on a black background which is perfect for blender and then you get black ones on a white background obviously you can just invert them it doesn't really make a difference but and if you've got the option go over the white marks first the reason some places offered two types is because for the two different work throws you've got specular glossy where it's easier to to use the black marks and then you've got a roughness workflow like the principled shader and well pretty much all of the shaders in blender and where it's better to use white marks so cool anyway so we've got our air mass brought in I'm just gonna preview it and we've got nothing which means I have not UV unwrapped my glass let's do that now I'm just gonna select the whole thing and unwrap as a cylinder projection awesome let's see what that gives us oh that's hideous damn okay let's have a look what the actual UV looks like oh it's not very good as it okay let's scale that up a bit bzf was a square texture actually maybe something like that I should say let me just jump this over to rendered as well I don't want to scale it up because I'm gonna do I'm gonna at least tempt attempt to do the scaling in using map he knows I just want their rough dimensions of the UV to be about right I think that is yeah happy Network so yeah jump over to that by the way I've been using a lot of shortcuts from the node Wrangler add-on if you don't know what that is it's a free add-on that's included with blender you don't have to download anything you just have to enable it so go to add-ons turn on node Wrangler it does a couple of different things but the ones I use the most are some handy tools we've been working on notes funny enough so you can for example if you hit ctrl shift and left-click it lets you instantly preview your node if you click on a shader it'll just connect that shader to the material output if you click on something that isn't a shader like that color ramp it will connect it to an emission shader a temporary one and then feed it out so it lets you quickly ctrl shift left click all over the place and preview exactly what you know doing it is fantastic if you don't use it start using it and but one of the other things it can do if I go back to my texture here if I hit ctrl T it will automatically bring bring in a mapping node and a texture coordinate node in a similar way if you're on a shader and you hit ctrl T it'll bring in an image texture at a mapping node detects your coordinate load so yes super useful but getting back to my dirt wipes here let's adjust the scale a little bit mmm yeah I think something like that all kind of work this is actually gonna be really subtle and I don't even know if it's worth doing to be honest a bit hey-ho um so I've got my dirt wipes and I'm gonna bring in another image texture and use that kind of fingerprinting one set that to linear as well now fingerprint size that's a bit big isn't it that'd be quite a small pint glass if I got served out in a pub like to that scale of like e-excuse me mate bigger glass please though I believe I went into a poly I imagine you'd be closed oh it looks very empty I shall have no idea app it lets people just ignore Ning going on the pub anyway we wouldn't surprise me the UK is not known for its intelligence you just have to look at brick so I apologize if there's anyone listen to this who is a big critic supporter but if you just press alt f4 that will that will solve the problem where are we that's about right I think in relation to the class you can't see me about I'm holding this invisible by glass in my hand at the moment trying to gauge the thumb sizes but yeah I think as about right yeah that's about right cool okay so what I want to do obviously isn't combine these two together so I'm gonna use a color mix known leaves these just gray scales I could get away of a normal and all overlay sort of effort I'm gonna use this so I've got a control for it and then I'm gonna feed the wipes into the top and the fingerprints into the bottom um and then it asked me to overlay the finger beads on top if you're wondering what screen does by the way I tried googling screen because I hadn't heard a good explanation of it is it's actually quite funny what it does it is a invert multiply invert operation yeah so if you have met you could replicate what a screen does by inverting both of these then using a multiply node and then inverting the output of the multiply and then you'd have a screen mode yeah if that makes any sense it's really weird but it's a really good way of overlaying the white areas of a map onto another map but in a is linear the right word in a linear way in the same way that the multiply is not like subtracting a screen isn't like adding it's using a multiply operation in there somewhere and so yes it's a coupon to use but I actually think I need to lower the effects of this one it's too powerful so I'm gonna if had to know I'm not going to multiply it I'm gonna use a color ramp so I've got even more control I love color ramps I use them a lot so I'm just bringing up the black value a little bit so it's only gonna be there the worst part of the smears they're kind of coming through and then if I want to lessen them a little bit I can just lower the white value there yeah I forgot to do that and then I'll up this and start to bring in our fingerprints but I'm gonna do the same thing to those as well and add in a color ramp and just get the worst of them it's just that kind of greasy the actual fingerprint shape that I really want or anything may be pinched in a little bit so they stand out and then as I over overlay with the screen I get both yeah and what we're gonna be using this for is to build up our roughness map basically so the last stage of that would be to put in a value node now this is gonna act as our overall roughness and then I'll simply screen mix be the roughness map that we've created over the top of that yeah so if I set this to my I just leave that as it is and plug into roughness and then look at our glass it's just normal glass because this is now our roughness value so if I sit at a 1 we have completely rough glass now I'm gonna use a value of about 0.05 just a slight hint of roughness and then see how we're doing on here try 0.35 maybe this is a really hard one to tell without doing a full render by the way I'm gonna leave it all the way maxed for now and we'll do a render and then judge it from there because at the mo you're probably about and thinking like even doing anything are you talking rubbish bill and blah yeah as I say it's really difficult so it mostly only shows up on the reflection sort of areas you can just about see a fun print in this area I don't know how well that's showing up on YouTube but yeah you really to render render out properly with a good few samples to to see the effect this this is having but for now let's dump this in a the frame and call this our roughness getting the frame thank you okay so one last thing I want to do and this is a weird one but I like it now have you ever looked through glass and kind of seen how the background or the light that you're looking through the glass can get kind distorted especially if it's a relatively cheap glass or basically a lot like a pint glass at the moment if I look through this glass what's behind it looks almost the same you see just you should pretty much seen straight fruit and when I look for a pint glass maybe because I've had too many of them and my eyes are misbehaving but everything's getting quite distorted and that's not what I'm seeing here so we're into a quick fake interior imperfection thing yeah I made so much sense so yeah let's grab two value nodes and these will be our index of refraction values so glass by default about at 1.4 and I guess it's 1 up to about 1.6 ok and then I'm gonna grab a noise texture alright so and this one I do want to be using an object note I don't need the mapping node though and let's just up this so we get a kind of pattern like that add in a color ramp pinch it in quite a bit so it's quite obvious where the break in it is cool you haven't network and then I'll add in a what I want here a map range value that's just hope to god I'm using this right I was using a different technique a thing I used to a color mix node and someone on Twitter was like no you're being a yeah using a RGB calculation or a grayscale thing that's just not the way to do it and I was like cool chill man now I'm kidding this is definitely the best way yeah better way to do it so let me dump that in there this right but yeah if I'm if my brains working correctly wherever there's a black value it's gonna use the value of one point forever there's a white it's gonna use the value of one point six and then it all obviously the intermediate gray values will be between them which probably means we'll need to tighten these in actually because I really want its transfer much probably no detail whatsoever um and I'm gonna feed that into the Iowa and then we'll preview that shader again and all already you can see it it's not the result that we want but it's a good sort of exaggerated demonstration of what I'm talking about can you see how it's distorting everything you're looking through now yeah and that's that's awesome that's the Sora effect that I wanted to replicate so let's just make it a bit more subtle drag these apart and probably up the scale of this a little bit and probably lower that that's heads nice now the more accurate way to do this there will be surprised if someone's already typing this like no bill bill no it's recommended to do is because what typically causes this effect is actually to do with the thickness of the glass so the more accurate way to do it is to create a a bump map yeah and feed it into the normal channel and and that is the route you'd want to go down in some circumstances because you can get some weird weird problems doing it this way but when you're looking at an item like this like a pint glass if you try and do those normal values when you start mixing in all these other effects and using other normal maps like imperfection maps that scratches you get some really weird kind of black black lines on the outside of the glass okay it was like there refractions being calculated wrong whereas this method that I randomly smooshed together on a on a lonely evening and yeah she works really well and does pretty much the the same thing as far as I can tell yeah it looks pretty cool I like that so we'll call this our fake interior imperfections cool so ya gotta be crazy no twice I like it this is this is this is this is where I feel comfortable and happy when I'm surrounded by nodes that I barely even understand even though I made them a few minutes ago did you get that Joker blend viola you're looking at your own work and you're being like ya ain't got a clue i it's helpful to put in frames and what not be sometimes even though I'm still completely well anyway we've pretty much got as far as I wanted to get today I'd love to hear from you guys I mean do you want to carry on with this projects I'm perfectly happily over the next few days to cover the interior foam the liquid my final render had bubbles bubbling up so I can easily get another another stream out of this if not two but if you'd rather see something else um yeah throwing some suggestions and but before we call it a day I do want to see where we are in terms of a final render so let me at least get that going while I continue to chat rubbish good render away in my friend oh never come in here was just saying and yes I know you were blender Pete hi and thanks for the stream you set your dirt maps to linear is in order to get the most information for map or something like that and yes you're quite right um basically is it as a general rule that I go by if the texture itself isn't gonna in any way influence the color of the material set it to even non color or linear yeah which basically gives the same thing as far as I can see if anyone's got a correction on that then then then tell me it's just in all the other apps that I use it's there is no non kind of data it's just leaning yesterday in my head I'm always like yes linear I know most people use using non caliper yeah I don't think it makes much difference but definitely don't use srgb for roughness Maps normal maps and things like that what I can see from this render though is definitely gone over the top with the IOR effect it's looking a bit crazy it's like a portal to another universe hmm I thought your fringe recently anyone remember that show that's crazy show any show that you have to pay attention to the title sequence to figure out what universe that episode is gonna take place in is never gonna be a popular show is it it's gonna be a niche one for the more geeky types but yeah I love him yeah and the IOR I would definitely turn to I'm not gonna muck around with it now because it's we're getting the idea but yeah um we've pretty much got those those light rays on the table and about the right sort of intensity compared to the reference the caustics isn't looking too bad and the glass itself is still got a bit of a dark shadow going on and that is a hard one to solve well not even a dark shadow it's kind of base area just looks kind of blacked out and dark um I kind of hit that in my final we've just post-processing it sir it's a difficult one sir to carry around because when it boils down through the glass shader in blender is pants Whitney is I don't like it at all compared to losing a lot of other render engines recently particularly corona and it's just jaw-dropping what that finger do with glass and you don't have to do any of this any of this crazy node setups that take 45 minutes to explain you just kind of go make that glass and then hit render and it looks amazing it does all of this well all of the stuff we trying to fake it just does it boom including those kind of crazy caustics you know when you got a swimming pool in the evening and there the sun's hitting they're hitting the pool and it's projecting these funky patterns of the the water ripples up on the the wall next to the pool and it doesn't that just by just by hitting render no no no no no other steps the steps necessary and there yeah blenders one you can't even get there dark areas of the glass to look right is yeah it's frustrating but this is always a tricks you can do to to to fake it and that's a yes what I've been doing a lot of recently but I'm gonna call it a day that as I said if you've got some ideas for me I'd love to hear in the comments even if you're watching this later after the stream was finished throw it in the comments and about what you'd like to see next you want to see more of of this project you wanna see something else if so be specific ask away I'm gonna be attempting to keep this going through the entire corona isolation period just so yeah those that stuck at home and not used to it have something to look forward to each day but yeah thanks for watching and I'll catch you guys later yeah how'd you turn it off

Channel: BlenderBrit

Views: 703

Rating: 5 out of 5

Keywords:

Id: C0a3kvEfYRQ

Length: 55min 4sec (3304 seconds)

Published: Thu Mar 19 2020