MtoA 522 | Procedural Paint Chips

hey hello everyone and welcome back to my channel in today's video m2a 522 i'll be talking about the new material series on how to create like a painted rock or chipped off paint using procedurals only this tutorial is actually a shading assignment from my udemy course about Arnold learned fundamentals and I just thought I will be doing the tutorial here on YouTube for you guys to follow along and also for my students on udemy so if you don't know the course what I'm talking about you can go on udemy and just search for Arnold if you're lucky now if you're the first one which will pop up is mine learn all the fundamentals so in here on the course section course content at the bottom there's a first shading assignment and if I go back to assignments instructions this is kind of what the instruction about this course is so go to this website download a HDR kid from news on Kovich which is about different HDR's like a little look i've seen i have it open here as well so this is kind of what it looks like and if you want to follow along in this material series go to this website download the material kit or look that kid there's install instructions everything right here and then I will also make this scene available on my patreon page so if you are a patron of mine there you can actually go there download the scene and get the full shading Network and all the fancy setups I did there already so these are the kind of things to be aware of so I will head over to Maya right now and let's jump right into this so Before we jump in actually a lot of people requested that I show you how my layout is or how I set it up so this is actually the initial Maya layout and also what you might notice is it's super large today I also got lots of feedback that my font is too small and it's hard to see on the resolution of 2k whatever so I went into Maya preferences and actually changed the UI scaling you can do that in preferences and actually into a scale the interface up so it's actually have 50% or 150 percent up scale so everything should be a bit larger so let's first do the customization so what I tend to do from Maya classic I switch to I switched your rendering expert which is a very stripped-down view and you can already see it's a lot cleaner and nicer so I think if I maybe reset this yeah okay so this is to pick the typical expert rendering mode and what I tend to do here is actually I like to keep the view panes open and what I just then do is I open Arnold open render view I drag this in into here and then I close the properties you've been at the bottom I clean up close the render setup there so now I just have the Arnold run of you here what I then do is if I find the script editor it's not here and I right-click close the tabs close UV editor relationship and then I right click here and choose my direction to be on the right so it's snapping to my right of the screen I will be closing the light editor and also the script editor I will drag it to my render view so they are next to each other and what else my outline and I like to have it on the right so I'm dragging this guy over like so that I can close this guy and in my view pane see what I like to do is I actually like to have the node editor here and close the Maya render view and also I like to have my hypershade next to the node at a tattoo so I have the node editor of the hypershade Arnold render view script editor and also obviously I would like to have another viewport so I go to your window I think it's in here it's in here new viewport can I did I do that actually so I can actually go here panels tear off a copy and just drag this one up here so just that I have a viewport on the left as well this is just mostly for my camera or something like that so random view here and then hypershade there so this is kind of how I set it up and this is how I've been working all along it's nothing crazy if you want to just hide the heads-up display display heads-up display you can tear it off and you just hide the stuff you don't want so we have object details and we have poly count and we want also to hide the by fraud stuff so this is kind of what I like to work with so this is that and so let's just go file save so let's just first set up a project so we're actually starting from scratch here so I will be just going to my to my work folder training and then at the bottom here I will go into my all painted rock and I will just go to Maya and I will say set project create default workspace and I just hit save and we should be in the correct folder or we actually don't have scenes so let's just put in a scenes folder seems like so and we just save em to a five to two training dot ma yeah so we are ready to go so now let's go with the setup so with the install instructions of the look deaf kid there you go get a command like this for male you paste it into the script editor under the Mel tab hit ctrl a ctrl enter and then it will actually import all the stuff you need and if I go to my if I hide this for now and I look through my camera this is what I get on default and obviously I also have default render settings which I don't like doc actually so if I make them a bit smaller you can see that I've got render settings set up already it should be fine for this case so if I want to follow the the assignment instructions I first will create a sphere I will scale it up to have a radius of 50 which is in terms one meter and diameter so and then I will be rotating this guy like so I will move it up why should you I yeah maybe like this and I'll just hide the floor which comes in with the look deaf kid I can zoom in tiny bit and this is kind of what I get then I can move my look that control center I can scale it up in the channel box something I guess move the sphere down a bit just that we have more room for the for the references there we go that's the name of that stuff alright so here we are and this is kind of the initial setup and I think most of you should be able to get this far it's super straightforward so I'm just feeling safe I will be as changing the subdivisions to maybe 100 and also you can see now that actually my U visa being stretched because it's a sphere so if I check my UV editor let's see what I actually like to do instead of oh well that doesn't matter it's just it they will be stretched along the sides a bit but it doesn't really matter because it's just about how to set up the procedures in general and not about having not stretchy you've ease all right so does the the geometry square now so I hit alt shift D to clear my history hit ctrl s to save right click assign new material go to Arnold and assign a standard surface shader so this is what we have basic standards of the shader we have a light coming from here and according to the assignment we should be working with HDR I think number 6 correct so in the look of kid and the channel box you can just change the HDR vision to 6 it's safe again and let's just open up the Arnold render view change my renders test resolution to make 50 percent hit the update or run IPR and change the mode or the camera to be actually looked at camera so on default this is what we get at super white which is okay no problem but I want to first check my render settings just to make sure everything is set up correct so for this kind of seeing what I like to do is have my a samples to maybe four one one is fine we don't need any ray depth of two because it stares no really not much bounce going on so one is totally fine we actually don't even really need indirect because we don't have a bouncy floor but it just leave it at that what I like to do no texture order creation we can use existing takes files but even that is not always ideal but that's currently my setup I don't like buckets scanning random so I change it to spiral it's coming from the center and I think 64 is just fine for my bucket size it's actually the most efficient one to do and yeah I don't care about the rest so let's just save again and save previs in case we get a crash so now let's check out move over to the hypershade and do a few more things to set everything up so I don't want well I will keep the material view here just to be able to to block off the hypershade or let's just close it doesn't matter okay so this is my shader I will be renaming this to a I I don't know ship paint or whatever you can call what you want you can rename the shading engine in my light show your little thingy helper I have a rename all for shading engine so they get the shader name right so that's the setup and now what I want to do is I want to load in the reference so how I doing that is I have a tool called PRF I open this up it's pretty empty on default so what you can do you can actually just drag and drop so images in here so if I go to my source images I have my pillow reference I'll just drag it in and I get it right there and on default this is on top which is very handy so what I can do I can just position this guy right into my window and maybe move the script edit all the attribute editor a bit more to the side so I have more room to scale this and this is kind of now my setup so I can double click this is what I have for my reference and if nothing changes this will be my setup from now on so after ten eleven or actually twelve minutes of talking we can finally start with this tutorial so let's just check my render again so this was my result from my first initial test so I cannot guarantee that this will look now exactly the same but we will definitely get close to this so I will use the same techniques I used in my timelapse video but I will talk over it and show you actually what my thinking process was for everything so heading back over here and making sure my references of is available let's get going so the first thing is you notice that there are repeating colors so we have yellow we have black red and yellow so what I was thinking is it was a stripe pillar or whatever concrete thing it was and it's like a pattern so my first thing was let's just create a ramp and kind of eyeball these colors so that's that was my first thought so let's just do a ramp texture hook this guy up to I do one and also if you don't have those ID slots what you can do we can right click the node show all attributes or edit the custom list to make them visible and obviously be sure to be on the latest m2a to get all the stuff i am using right here so the ids slots are used for output a Ovie's so it's actually they don't contribute to the current render just keep that in mind so if I let's just update the scale a tiny bit like that okay so default setup for the standard service is a white shader with a weight of 0.8 which I find a bit odd but it doesn't matter so typically what you want to do is change the edges V to always 18% gray and weight to 1 and then make sure you're either you don't have any specular or you have really high roughness of maybe 0.7 this would be a typical gray shader ball also I just changed a few roughness to one and what it means it's not a lamb bush and model it's more like or in there it's more like for Dusty Russ dusty and rough surfaces and you can see my son is facing us directly which in this case don't really like so I will be just selecting the the dome light and I had over to my transform node it's currently linked to my frame position so what you can do you can either skip frames to go to a nice view or you can just break this connection and enter it manually so let's I just skip frames to 150 or 165 let's just try 165 I think this is oh my let's sorry it's too much shadow side on here so I'd like to have some balance so maybe this is not it's not half but it's a bit more than that and this is kind of what I will be going we're from now on so realigning this guy and scaling this up again hopefully we are now in a good set okay so this is my initial setup and if I would like to view the the the ramp now what I will do I'll just hit isolate mode click the ramp and this is what we get so let's just change the mode to be none and then move this over what you can see now I get actually a hard line so you can see the orientation is wrong so change it to a you ramp update things to get something going and you can see now at the top we have dark or black so the next step is to create a few colors you can actually pick them so I click here click my picker and click I don't know on this yellow here and then I'll do the same for the darks dark color click and select the color then we click on a next ramp node and this time we will be on red and after that it's just a repeating pattern so where's the red where is the yellow so there's the yellow there's the red so I would like to have it repeating so you could actually add another color like yellow again well you can actually go to the place to denote and actually do a repeating pattern let's say we want to as a juvie we want you to repeat maybe three times and then you can see you get more colors so we have yellow on the top let's just spread them out evenly and then what we do we just go into we just lock actually well isolate so in the bottom corner you have a little lock which means the selection is locked to this node and then you can actually change your offset without change without changing the selection of your currently looked at node so you can see this is kind of what we get in here so we have yellow at the top we have black red and then yellow again I would like to have a bit broader yellow so more yellow like so obviously this is preference what you would like to see and then you would do an offset again until you're happy with your layout so I'm trying just to eyeball the same thing we get kind of here and the next thing what you notice is the color paint or the paint is kind of connected and there are some overlaps really subtle overlaps and also it's actually diagonal so not straight as I have it right now so on the ramp you can oh sorry in the place to Dino you can rotate the UV you can go all the way to the right and then you can rotate it and if you remember I said the UVs are not nice so that's what I'm talking about they stretch towards the the poles but this is alright it doesn't really matter if you have proper UVs there should be a good solution to just rotate the UVs so my ramp again I was talking about the noise so it's super simple to do the ramp has a noise pattern so what you can do you can increase noise and then play around with the frequency we want smaller frequency so increase the number here maybe two three you can see now this is very interesting and this is exactly what we want to do you can play around with even smaller frequencies to just get a more broken up edge and this is kind of exactly what this is so you can see there's some overlaps this is might be even a bit too big so but it's this is kind of working and that's just a way of doing things you can also do a noise pattern or whatever but I think this is something which is good to go and the next step what I like to do is I want to create the broad noises for these three colors and you can actually see that the black is a different noise scale frequency than red or yellow so in in terms of creating that you would have a hard time doing this in one little noise note because they are they're global or local which means you cannot have different scales per colors so what I like to do I want to duplicate my and luckily enough it's just three colors so what I can do I can change my yellow to be let's say red pure red my black to be pure green and my red color to be pure blue so what that enables me to do is actually isolate based on the color the first step is though to connect the same place so denote so holding ctrl middle Mouse drag onto that white dot connects it over and you can see we have the exact same connection so if i hook this up to i d-- slot one and i disabled my isolation lock you can see that now we have kind of the same pattern but just separated by color IDs so if I had red you can see white green and blue so I have this isolation and that's kind of the idea to use this as a mask for my noises so the next step is to create a what can we do we can actually do a Australia layer RGB a and this has mixes and I think this should do the trick so let's just see if it's actually doing a trick i connect this guy up to my ID slot and let's just change my color to be Sian enable layer two magenta and layer three would be yellow so right now layer one is fully visible so I think if I connect the red slot to my mix we see that Sian is grabbing the matte red and if I select green to mix to and if I select blue output to mix three we should be getting all these colors split up by these ID slots right it makes sense actually right so this is now my broken-up texture and in the color itself what I'll be doing is instead of plugging in the colors in here or changing them in here what I want to do is actually just create a ai noise or a yeah a I know is the thing that's the one I used if i hook this one up here you can see we get a pattern there if i duplicate this connect this to my input to get the same obviously and then i duplicate it one more time and connect this guy up to my slot number three so we've got now the same result as if it's just connected as if just one noise would be connected the benefit though is it's actually more than one I can now do some different scales different colors obviously I'm looking through that so actually I should be locking it to this node so lock and now if I change noise one you can see that is changing independently alright so what we will be doing now is before we create crazy patterns I just want to connect a a I arranged beforehand and what this enables us is actually to clamp the color to a correct range so right now it's a range from 0 to 1 and lots of grayscale values but for this to work we need to kind of get a proper hard edge so what that means if I change my men max to 0.49 maybe or 495 and my input to 0.5 of 5 we have a 10 unit range which means we have almost no grayscale values and this is kind of what we want so if this is the yellow part we want to have I would say medium-sized patterns and well it's actually almost a smaller size of patterns so in terms of creating sizes what you can do is just change the scale so 0.5 point 5 point 5 will give us a larger scale so then you add octaves to this which adds more detail and now you can see what's happening we get actually these nice kind of twirl or whatever and this is pretty close to what we want to have we just want to change the amount so what well what I'll be doing I make the scale even larger maybe 0.1 yeah and we change the obtains even higher maybe 0.1 is a bit large so you can see it's a definitely trial and error thing until you're satisfied with your values so I think this might actually work pretty good and you can also scale it so if you just change one value you can get more like elongated shapes or something like that and even so like you can still play around with the range so in terms of making them less like making them less white what you can do is increase the black input men a bit more which means you get less pieces something like this it's always good to have like a range of maybe plus ten so if this is point five six five we want to have five seven five and we get this kind of look all right so also what you can do if you want to have like a few more chips everywhere something like that what you can do we you can't get very creative with this kind of approach so you can do another noise we can do a a I composite or you can do a mix you can do a lay or whatever you want to do so let's just use a composite for now and hook this up here and hook this one up there actually when you at the same range hooked up here and then this connects to my composite bottom comp as a top output of the range goes in my composite and now and here you would do maybe max for instance what this means it will always take the highest value this one is currently zero so if I change my frequency to be maybe point six you can now see you get these tiny things everywhere like these blotches and sometimes they are connected some things they're not and you can also change the kind of the the amount of I said like the amount of the particles of whatever so if you do maybe 0.6 and point five nine point five nine you can see we were clearing out a few more things and we can go even further let's go maybe point seven and six nine and now you get really smaller blotches and depending if you're happy with this you can go with that if not you can also I don't stick with us or not also you should have smooth step on or what you can do in the end you can do just an AI clamp so just to be sure your your your Max does not go over a value of one so let's hook this up and now I'm ensuring that my values don't go above one all right and you can see it gets a bit softer so what I actually tend to do is I and I have a smooth step here which is also a kind of a clamp and then maybe a range of 10 units is not enough so maybe nine five and in this one as well seven which just gives us a little bit more sharp edges so this would be my yellow and I think it's a bit too much too much yellow so whatever is white would be yellow right so I think this is too much so let's just increase this a bit more maybe seven 6:9 so that's a lot less and I think this works better and then we do the smaller ones we can also get rid of even more so if you go on eight five and a four we only have these little dots and you can go further you can now do a multiply on top or a min value just to even make a really large one well okay let's just I'll just do this here as the main example and the rest should be is not that detailed so if I do now another AI noise and then I do a composite again a composite and I connect the output of the first one to here and then this one to this and I hopes I can connect them and then our color goes to input of my clamp and this time instead of using a max we will use a min we will connect a range like so and we will do maybe let's just do point five one and point five and we change the scale to be maybe 0.05 0.05 0.05 so now what you can see we are actually cutting out stuff so if I increase this you can see wherever it's really dark you can see it's cutting out stuff and this is kind of a way to break out like add more detail and get larger patches so it's it looks kind of painted it's not spread out everywhere you get like dots here and more there so wherever the noise is black you have the white white showing through that's kind of what it is so I'm pretty happy with the result right now so this would be my setup for the yellow and as I said before I will not spend that much time for the once because it's kind of the same pattern it's just depends how much time you spend with this right so my range is connected to my next color and let's just go maybe a for values of 0.6 and 0.61 change my noise to let's say we have 0.4 no we need to go maybe point O 5 like we did before in the breakout and increase my up types to maybe 6 yeah this should work maybe 7 maybe 7 and then we can also play around with distortion to get a bit more kind of it looks like it's more organic definitely and now you can see that we have these bigger connected shapes you can offset this however you want like move it to the right or to the left or whatever depending what you want to aim for and then the next one is the red which is a bit more I would say more detailed a bit smaller pieces and it's kind of more spread out so let's just do that quickly with maybe point 7 and point 7 1 and change my scale to be 0.3 and octaves to 6 so this would be red and I think we can go a bit smaller in this axes and in this one we can do some offsetting I don't know so this would be my 3 patterns for my masks right alright so that's my kind of my break out break out or break up mat so what I like to do now I just hit one to make smaller nodes and I do a sorting which is this guy so now it's nice and sorted I can hit 4 again and this now this AI layer rgba would be my mask or paint mask like so and I will use this also for a color sorry for and my base color so what that means is I will create a let's just create an AI layer or GBA which will be my concrete shader so let's just call this concrete and not shader but flat color and then we'll do a we can do a compositor we can do a also a mix shader' which supports colors or like single textures or shaders so deleting this and let's just connect up this ramp 1 and I would color here to my shaders 1 and 2 and my red output which is just any grayscale value goes to the mix and this one connects to my base color so if I had save now remove the isolate selection you can see now this is kind of what I get and obviously it is inverted so I will be just switching out the shaders so alt shift left click and drag is this cut tool so my color goes to shade a2 and my color goes into shader 1 and I'll just change my first color to be white and this would be my color so you can see now I feel that the the black is too small so what you would do now is you would go to this guy here and let I think it's this one so we can just go point one maybe and you can see now everything changes with the scale of this maybe that's too much maybe to 5 yeah and that may be say around let's just leave it as this or maybe school you can see you can always play around but anyways I like it like that and we just leave it as it is save okay so this is kind of the initial setup of how to break out three different noise patterns so the next step would be to apply this for displacement right so currently we have a black and white mat to drive the chipped paint so if I do a displacement shader and this is where you should save more often this playing with displacement and interactive is a bit dodgy so I select the mask the output of this goes to my displacement and the displacement connects to my original shading engine and then to the displacement shader this is what we get it's already doing the right thing the problem is though my wireframe is not detailed enough so what I like to do is I select the shape through the render view go to my sphere shape and Arnold tab make sure I have subdivision two cat o'clock and then make sure you have iterations maybe go be gentle just go one up at a time not 21 that's not a good idea so just to hit enter and you can see my wire frame gets smaller and smaller if I hit 3 we get even smaller subdivisions and you can see now we got these little islands of displacement happening so it looks like these numbers here are super high compared to these numbers so if I just for now go to my shader and disable the scale I just want to double check if I go isolate selected and just make sure what numbers I actually get it looks like they should they are more than they should be you can see this is a luminance value of 15 not cool so I actually need my clamp to be after or make sure these ones are clamped here which they are not so make sure I clamp is on or a smooth step is actually on and here too so now if I check it out again we have values of 1 0 1 & 1 yeah that's better now okay so let's just hide this display settings move this back over like that disable isolate mode hit save and then go to my displacement shaitaan back to 1 so now you can see we get these correct chip offs everywhere and weirdly enough there is this offset which I don't fully see why that is let's just double-check what this is so if I disable that so this and this is correct I'm just double checking if it lines up but it is the same output so it might be just an issue where it's not detailed enough let's see if I connect this back up well something does change when I connected weirdly enough so let me just do a clamp after just to be sure that nothing is funky and connect this up here this one goes into displacement and this one goes into the mix right here so this should now be definitely correct still the change I think anyways I know I'm not exactly sure where this offset is coming from it's only well it's involved actually it might be that the displacement is not as accurate once it's being subdivided because the UVs change maybe but anyways let's just continue maybe I should not do this update just updating the renter view didn't change so what we can do now is um we first should change my bump map so we don't have any bumps so this was actually the proper displacement only no bumps and what we can do is we can change the zero value what it means when it's on zero a value of zero will not displace so a value of 1 will fully displays a value of 1 so if this is on 0.5 what it means a input value of 0.5 will not displace but a value of 0 will go down like in words and a value above 0.5 will go outwards so if you want to have little cuts or dents of it you should have it on 0.5 otherwise you would be working with negative values which I don't like actually ZBrush works like that Mudbox does not so I like to work in a point 5 scalar radius what that means is I can go on if I output values of 0.5 they will go outside and if I go below point 5 they will go inwards right definitely too much paint we just want a really subtle effect so point one maybe and you can see now this is kind of what we would expect point two and the more detailed you go on your subdivisions or the higher you go the more detailed your edge will be you can see now it slowly catches up with my detail if I go maybe five depending on how long it takes to subdivide you should be in a good state so I think a value of five is pretty good to work with you can see now we get almost good matching chip offs and the thing now is because it's 2d displacement you don't get any detail on the extrusion so this is a fact you should play around carefully and not go overboard with this and another cool thing which you can actually do is to add a broader noise for the displacement so which means that the paint is actually chipping of it has thicker parts and lower parts so for this test let's just go up down back go back down to three to just have faster durations and if I have visualized my clam you can see this is what I get and if I do a noise one more noise let's just move all these things over okay and now what I want to do is I just want to multiply them together a I multiply and I want these both to be white so one times one is one so there's no change okay so if I visualize this this is now my scale so I definitely want to go lower maybe point two so if I visualize the result if I'm not fully mistaken we should multiply this now and we should get a difference let's just make this large should have kind of different values which we currently don't have so if I make this even darker this should totally be a different value now it should go not sure why is this not displaying it correct it might be the case that but I think I'd see the transition but anyways let's just see it in in the displacement itself so moving this down this is displacing if I do this and if I go back to basic mode it's maybe not that visible that's just update I would expect this to go down actually let's see what's happening let's just do a this guy goes in ID and I just visualized this definitely some patterns why is this not updating red goes in here it's very interesting I also I don't see the update in my pixel in my color picker there it is but it's not on the isolate no there it is now okay so this should go point six and this should go down point four so there should definitely be something maybe it's just not that visible as I thought it is all right anyways not spend much more time on this so let's just go up and increase my iterations back to five and see if we get some dents or some more distinctive dents there's definitely something going on here so this might just work and you can see now this is also nice you get these connected paint chips even here intersections okay so this is kind of what we have right now and for the next steps what I like to do is just work on the the cell or the the cement and for this I will just be unplugging displacement and I will also be changing my subdivisions to maybe just one just to get a faster feedback okay so the cool thing is with the concrete it's kind of a sell shader so Arnold ships now with a new sell noise and this one actually has some nice stuff to it so if I connect this to let's say and put three which is at the bottom for now so if I enable this you can see you get the pattern isolate selected for concrete and lock it if I change the mode now to be cell one you can see we get these nice patterns we want a full density and now what we can do we can we can add more layers let's say for and you can see now we get these this nice little break up you can change also the additive mode so you can get really small and detail depending what you want to do and then the next thing is to create a ramp texture ramp which connects into the pallet of that cell noise and what that means it's actually picking a color from this input so let's say I want to pick a color from here and we do we pick this color and then the other color let's say we pick a red now you can see it's kind of eyeballing it's picking random colors between this range oops this should actually be on the right and this one should be the pick color like that and obviously we should pick another color but I like because there are some bigger stones in here I'll just pick that brown color or yellow it is and you can see it's it's not the same 100% the same as below but it's it's kind of estimating a little break up and you can change the ramp to just isolate the brownstones and then in here you go crazy with maybe not that crazy maybe more desaturated yellow yeah so let's say we want to work with this and the next thing is you can go to your concrete and you can do a enable layer two and if you make this white and I do multiply and we should see the other one coming through and you can do the same with Max or you can just do some some whatever weird stuff you want to do if I do a duplication of that cell noise and I plug this into my color too and for now I don't do a multiply so just an typical over then we only get this effect so now we can do for instance additive and you can play around with the scale where is the scale here if you can do to you get smaller particles and let's just see if I do multiply now we'll just see what we get if I find it so that that work interestingly not really that's always a little bit of a guess why this is not working so if this is over it's fully on top but I cannot do the multiply let's just dig into this all right it's actually the other way around so layer one is at the bottom layer three goes on top so I would obviously need to multiply the top of the bottom oh I would just instead of having layer two I create layer four and plug this into layer four instead and then I do a multiply here which means the this cell noise there is multiplied with this one and then I can just play around with the intensity and obviously if I want to make the bottom one brighter I would do a lighter colors in my ramp something more like that and then more like that to get more wider or brighter colors and then I can play around with the noise to get something like that and if I think this is too large but it which is which it definitely is I should just play around with the scale to maybe a value of two here or even smaller like that and we still have this little pattern so we do four and now we have a nice little break up and depending on your resolution this should be just fine okay so this would be this mask and now what I like to do is to break up or like add some you can see the paint is coming through here so what I have right now is a clean mask which drives the mix here so if I do isolate selected and I view from the mix you can see this is super clean but what I want to do is I want to create or change my mask which is this and I want to kind of multiply this with a with kind of something which is kind of like this or let's say like that so I will create a range and I will create a a I multiply and also an A I clamp clamping is just to ensure it's in the range of 0 and 1 so this comes in here this comes in here and this one is my out color which I want to make sure I just plug in the red channel so red goes in here red goes in there red goes in here it's just to ensure it's in the same like it's just a grayscale map so now I have this x that I sorry I have this x that and I want this to be really black and white so and I want to visualize it from here so I'm locking the multiply and now what I'm doing I'm just playing around with my max value may be going down to 0.2 now you can see we get this little little break up so 1.5 you can see now we get these broken up things and whatever is black as you remember it shows through the below the below map or the map below actually 1.6 this is definitely too much and if you want to change it differently to these colors you would do the same effect as I there with those RGB mattes now let's just visualize what the result is if I go to my and plug this into the mix and look at through the mix why don't we see anything here's it needs to be this you can see now it's kind of looking through and this is what we wanted to see and now depending on your base layer this is what you get in if you feel your base is too dark you can just create a color correct note or something like that just connect that up so you would do color input and then you would go into shader 1 and you can just bring up the exposure maybe by always stop and this is what you get and if you look through this now this is now a lot brighter getting slowly in this direction I still think that the concrete noise is too large but it's it should be working just fine and the next step now is if you check the you would now need to create a nice displacement map for the pain I guess all right slowly a concrete so what we have now let's just check this so we have this and obviously we need something in the dark spot so where does it all come together so we have it here which is the bottom and we have this and these are the three mats and they are separated by this so what we can do now we can just plus this on top of something just to get some nice detail so let's just do an AI composite and connect up let's see we want this it's getting a bit confusing but it's no no I'm not confusing but it's a bit tied in here move this guy over more space and we want to connect this so we want to connect that and we want this guy and let's just connect this to my DS lot so I can just use the isolate selection method and change maybe max alright so this is correct what I just want to do now is play around with these values so I just credit range lots of ranges but ranges are very powerful and you can use them quite a lot and I just want to reduce the output so I'm locking the composite three and I'm just reducing my output max so now you can see we get this kind of effect and we can actually plug this into the displacement and just see what we get if I save this now we actually want the multiply being applied after so this would go in here now let's see what we get now if I connect the multiply to my ID slot we should get this breaking up the displacement as well so let's just save and connect up the displacement alright so nothing much changed just because we don't have any subdivisions you can see something is going on though alright so let's just play up these subdivisions and my subdivisions tab on the shape maybe go back up to four and see what the basic shader gives us and you can see now we get some very interesting effects we can actually go a bit further maybe also going up to five and we can also play around with the displacement as well as sorry with the auto bump mode all right so this is now you can see it's now coming chipping off very nicely let's just go in here and play around with my auto bump and see what this brings us it takes a while and uses receptor bite and then it applies the water bump really enough it kind of removes the nice details and I had that before as well and I can't really explain why that is and you can see now my result does not look that appealing so I'll just disable the older bump and just actually subdivided okay so now you can see we get these stands back and currently we have a very high roughness so let's play this down to maybe 0.2 and now you can see we get some little shiny surface here and this might be definitely too shiny so what you can do as well as use this displacement map as a bomb to denote like that connect this up connect this to my normal camera and then you can play around with the intensity as well just to soften it up a bit you can see now we are breaking up the surface here and obviously we need to adjust the colors to at some point so I think the roughness is still too low point for maybe 0.5 and this is now getting into the into the correct space and then I would like to increase my scale to maybe three point five which would give us a stronger displacement effect like so and then you can see it actually breaks up pretty nicely here we got these bigger holes and what we got to do now is adjust the color of my of our initial input color which is here so be sure to not move these sliders but just change the color click here and then maybe add some more saturation to kind of get this more glowy yellow may be fully yellow like that I think the blacks are a bit too too washed so let's just click here make this darker maybe a value of one maybe even lower yeah this should work and then let's check out the red which is here a lot more saturated so let's just head over to my red color here and make this a lot more saturated and even brighter okay so this is currently what we have I think my base is this is still too large so we can easily just change it up make this smaller in frequency if you go to my original cell noise make this maybe five and this one maybe five point five for the smaller multiplication scale and if you want to have larger patterns I think we want that so I'll just head over to my original I think this one was a top one and then the bottom one goes here so that's my bottom noise top not middle noise and this is my original one so what i'm doing here i'm multiplicand multiplying different noises but let's just play around with the red actually and make this a bit larger so 0.05 maybe point one and point two five and here's another zero and also change my render resolution to one-hundred my subdivision I think it was set correctly so let's just see what we get now if I render the full thing all right so the render is done so let's just see what we actually got back and it's I would say it's a bit too too large like the pattern and we would definitely add more like a stronger bump or displacement for the concrete itself but all-in-all I definitely like the effect and I also like the little noise we added which actually brings us these this effect you can see that there is like these bigger patches thicker paint less thick paint and depending on your lighting you will get really nice shadowing effects and this kind of just I with this tutorial I just wanted to show you a very creative way of multiplayer multiplying different noises together to create a very distinct look and obviously this applies to a lot of things and is not just to this little pillar you can assign these techniques to lots of different things breakups and all this kind of effects so again I hope you like this kind of tutorial I hope also you like my scene scale in general as I said if you want to follow along everything is uploaded to my patreon channel which you can sign up for and have access to the source files of this session and all the previous tutorials I made since I think m2 a 504 something like that so there's quite a few of data on there and obviously if you are not familiar with Arnold in general please be sure to check out the learn arnold fundamental course which you will find on udemy if you just type in Arnold you should it should show up definitely in your search results and obviously we will find it by my name or just by that by the Arnold logo so thank you guys for tuning in and watching this tutorial till the end I know it's a bit much it's a bit long but I just want to be very detailed and I had feedback which was not that good about saying I'm not showing shortcuts or I am not displaying my resolution is too low or too high and everything is a bit slower this time because I try to explain it very much in detail so you will find this video on udemy as well as on YouTube so thank you guys again for tuning in and I will see you in the next lesson

Channel: Arvid Schneider

Views: 10,345

Keywords: training, tutorial, learning, lesson, beginner, advanced, lookdev, lighting, shading, maya, arnold, rendering, procedural, noise, cellnoise, layer, mix, autodesk, solidangle, mtoa, udemy, assignment, arvid schneider

Id: f8LT14pI2-4

Length: 64min 0sec (3840 seconds)

Published: Sat Nov 10 2018