MtoA 525 | Arnold GPU (beta)- Hands On

hello everyone welcome back to my channel as you might know by now that Arlen has released its public beta for the GPU rendering and you can see it's very nice looking it seems to be very fast and as expected I will do a hands-on demo and our hands-on video just starting today I have been testing it for a while now and it seems very robust and super fast and even now if these limit these new updates it's getting a lot better and it's really fun to use so let's just head back in my and let's get cooking and get something to render so now in Maya 19 with Arnold GPU installed you can go to the About section just see which version I'm using i'm using the 3.20 m2a version with the new core 5.30 and before you get rendering there is a guide on their website just to see what you can and cannot do what versions you need to have for your Nvidia drivers and they make it really clear that Arnold is not ready for use in production you can test it play with it but there is no proper support if anything should go wrong when you are in production scenario or environments so here's a few updates to that whole 3 to 3.2 release and a very big thing I must say it's a smart opaque mode which now detects if you have transparency in the shader to automatically enable the opaque switch for you I'm not sure if you will really see it in the interface of Maya but at render times it should happen happen in the ass file generation so it should be done at render times you can now visualize lights as you can see you can see the area light in the render directly and there are lots of other things to look at so it's a very great update so I have a little scene prepared it's like a little cake scene we were out this this last weekend and we went to a pretty nice place and they had a dessert menu and we got a pretty nice cake so I'm just trying to replicate that obviously I'm trying it all procedurally so bear in mind that this will not be photo real I have a little simple so I modeled all these things as you can see it's very basic so a very basic scene I modeled this stuff very basic and my I just like I wouldn't have never call myself a modeler so but I could replicate something let me just show you the reference and this is kind of what I'm going for I have a little a few more images like reference images from different angles so this is kind of what I was going for just playing around just testing the new the GPU version so this is what I have and I went actually to ZBrush I don't have it open but I sculpted a few displacement maps and exported them so you will be able to get all this stuff you get this little model say they have been you vide but it's like the Auto Ryu ving and ZBrush so you have something it might not be the best but you've got UV so all this is you can play with that all this is exported or available on my patreon channel so if you are in this source file tier you can get access to all of this you get the displacement maps you get all the models my reference images and I actually have quite a few images I have like these references if you want to play with that and I also have the like a mint leaf which I don't have yet so we can actually place that if we want to but for now this is what we got this was our finish so you can see I just placed a phone here to get kind of a scale reference so I know how large I phone is right so I just kind of measured it to that scale as you can see my techniques nothing really crazy it's just something to get going so I have my C now saved and the first thing I guess what we want to do is just bring in a light so I just will load in a sky dome lights and choose a very basic studio environment it will not be the same as the reference images because I actually did not shoot something right there but I will just load up that hgri and then make sure that I have to correct render settings and then we are ready to start some look dabbing on the new Arnold GPU release so loading in the map and going to the render settings what I like to do I have my little pre said here I think good is the one so I'm just assembling quite a few things I don't like the auto convert I don't like the the rendering of the swatches and all that so a few things is abled right now we aren't CPU so let's just select all of these guys and assign a standard surface shader hit as ctrl s to save and let's just render that it met the first startup time for the GPU might take a bit so let's just first switch that mode over and enable that open up the on old render view test render hit play I guess and now the scene will be starting to convert for the GPU and there you go this is now fully rendered on Arnold GPU you can see in the render settings what kind of color have Quadro P 5000 so it's a pretty decent card actually so it will run very smoothly on this machine here and you can see it's very fast it works pretty cool and now let's just make our frustum correct so I can see what I am clipping off and whatnot and you can see now pretty cool stuff and what I like to do though is even though we're on the GPU I like to do in a test resolution environment so it's just a tiny bit more snappy and it's just nicer to work thing to keep in mind is that the GPU does not have any indirect stuff so all this is disabled that is correct so the GPU only uses a sample so you can go crazy like 20 or even higher and it will just take a while to resolve on for that resolution if I region click here even that is a lot fare so you can see it starts resolving and it gets clean very quickly another cool thing is you can actually render in the viewport and that has been there for a few versions but you can just click render and hit Arnold here you get this little floating menu hit play and the scene should converge in the viewport as well and you can see that is happening so a good tip in the viewport is to go to the show menu and disable selection highlighting so now when I wrote it in the viewport and I select my objects I don't get any selections in there is very nice and very convenient all right so I guess we are ready to start some shading let's just maybe start with that little ice cream so I'm selecting that you cannot see it in the viewport as I said before but it is selected you can see it in my in the attribute editor so I'm just moving this over so this is currently our base shader so I'm selecting the ice again right clicking that assigned new material AI standard surface and I will just frame that material so now I'm working with this little shader there and if I change the base you should see it updating there and it's happening very fast and very smoothly another thing you can do then is you do region selects so let's just click that region and now we only running in that little region I can drag the region and if you want to move it I just found this out yesterday actually you don't need to move this and move that to move it actually you can click these thinner lines which highlight origin then you can freely move that viewing window so now let's just work on that little ice thingy and maybe make this a little bit larger and let's just try to do a scatter shader first I am the same and great okay so in that shader I'm heading over to I'm just fully ignoring the base just close that down go to subsurface and unable the weight so now you should see it's getting very translucent and you will notice there's a new random walk v2 which is a lot more detailed and very thin area so if you have like papers and objects or just objects which have lots of crevasses or thinner parts use that it's a bit more optimized and a bit more accurate as well so let's just try preset maybe let's go for skim molecule we can see it's very blue and it's weird so let's just reduce our overall scene scale my maybe by a factor of 10 and you can see stuff has changed we want a bit more yellowish ice or whatever and we want some cream so we what definitely want to reduce this radius it's currently on one which is very high based on that scene scale so I'm just moving that down and the further I move it down the more solid our ice cream gets or right now it's cream so we can reduce our saturation for the main color maybe - so it gets a bit wider and then we can have a more yellowish scatter color instead so now you can see whenever it's scattering it gets a bit more yellowish which is my and which might be a cool behavior so you can see now it's slowly cleaning up that the render and you can see now it looks very see-through very White's compared to all the other shaders but that's currently what we were going for so next step is actually to load in the displacement map which I have created so in that little folder under ZBrush I have these maps exported and there's one called ice-cream I guess it's that one so I'm just dropping that in and if i hook this up to my ID channels and i'll just do i just view the selection of that i can open up the debug shading menu like that and i can just enable isolate selected hit that and now you can see that it's very black but the ZBrush maps are very black just because they work on a zero level so I think we should be good if we just create a displacement shader like that hook up our red channel which is just a luminance value of that and plug the displacement into our displacement shader we should hopefully see something updating here if I remove isolate selected and maybe it's just view the basic one you can now see that we get this displacement map working as expected we can't bring a like boost it up if you want to maybe a value of two and you can see it gets a lot more broken up and because I exported the map with I think three displacement subdivisions we would need to do the same and the Arnold tab go to subdivision and make sure we change our mode to cat Clark and then we can maybe go up to three iterations which will subdivide that and this is now our result of that so now if we boost our scale to two we should see a more accurate representation of what I sculpted obviously it's not the masterpiece but it is it has some detail to it so back to the shader we should now see a lot more like break up everywhere just see a more interesting render and that's kind of the the beauty of this you can just sculpt quickly something and see the result almost in real time right you can see now that break up on my specular and all that so if you want to have a more frozen look to this or more like if you want to go more for for for cream you would need to add up more frequency displacement map and all that but I just want to show you how to quickly get going one on the GPU side so let's just move our View window here to this wafer thing select it it's supposed to be like a little chocolate cracker or something like that so clicking that assign you sanded surface shader framing that and ignoring the base totally again just go over to the scattering part and able this and go for a more brownish look more saturation for sure a lot darker maybe something more towards that color change our mode to V to scale to maybe point one and now just reduce the radius and change it to be a more saturated color something like that so now you can see we get that kind of scattering look if I rotate it to the other side you should see there is a bit bit of scattering going on now you can see these thinner parts get more light through and now let's look at the displacement map we have for this as well so it lives in the same it's called wafer not the best name but I think it will work displacement shader same thing hooked the red channel to the displacement hook that up to the displacement tab no it should have got Gordon gone displacement get a bit more detail on this you can see now we get these little dents everywhere so let's just also subdivide this maybe just three times and now we should see a bit more detail we can try to just restart the render and see if we get better subdivisions which might help actually so now that's the subdivided mash if you check the basic mode this is what we got so nothing really crazy just a bit more breakup and what you can do you can just multiply this with a maybe let's just create a procedural noise quickly like a cell noise for instance hook that up into our ID to isolate selected on that change the mode to wall-e maybe add more octaves to this get more detail change your scale maybe to five like that so we get a lip these little patterns and what we can do now we can just mix this in slightly so right now we are working from zero to one in this the Z displacement is from minus one to plus one I guess we can now just slowly just mix it in if we want to so let's just do that with a I think it's called AI multiply for instance so what let's just maybe do an ad so we'll just adding these that's on top so we would need to remap this obviously so let's just hooked this up our color so this is now multi ssin so let's just do a range connect these two guys up like that and then we can just reduce the overall value for this so if i hook this up to my ID slot we should see the range result so what we can do now is just reduce it by quite a bit so output min is minus one and now we can just just clamp those values I guess so just maybe go maybe point two and negative negative point two so now we're just swapping the range and every plus is now we should get an interesting result I think it will be way too strong but let's just see how that looks if I just connect the red output to the displacement it should explode I think we'll see and yes as expected it did explode a bit but it's fine we can just now obviously play with the wrench so maybe go in the range from oh five negative of 5 to positive Oh 5 to positive oh five and let's just see what we get now and this is now something which is working a lot better we might still reduce it a bit but I think this is kind of working and we get like a interesting look for this way for it's not the same as a reference but it's close enough and I think I just showed you a technique how to get something out very quick and yeah nothing too special about this we can see we get these black spots that's because the scattering is a bit too aggressive on this so we can just reduce our radius and we should get rid of these black spots a bit make it oval a lot darker and then play a play but with the roughness maybe try three for this the IOR five five four five so it's not that shiny and now we have a little setup for that wave wafer as well so in contrast to the ice cream and now has a nice little contrast so let's head over to our little chocolate thing at the bottom here move over our view window down there select it assign a new shader to this and just make this maybe a chocolaty electric so no scatter for this guy base color on one choose this brown chocolate tone we go a bit darker for this maybe something like that and now you can already see that we get the nice reflections on this and it kind of looks like just like a dry chocolate or check like a brown sauce or whatever so good enough for this I'm sure that's fine so now let's move on that little plate which is supposed to look like something more like that oops that's a banana like this so we can't do some noise texture on this and I think we should get something fairly reasonable assign favorite shader standard surface shader friend that guy and directly what we do is just create a noise pattern ai noise hooked that up into our base color and do an isolate selected on this and may add more detail maybe three and distort that and I can see we get these nice lines maybe tried to octaves instead and change our color to be more in that kind of blue color or these listy saturated gray stone or whatever and do a variation on the other one maybe we go a bit darker a lot more set D saturated something like that might work I think and just use saturated the color one a bit more like that and let's see how that looks now it's a lot darker than expected but I think yeah let's just boost these colors slightly so we get just more color in this and we will be using the same map as a bump map as well so we can actually duplicate this it makes more sense to just duplicate this no noise pattern but just keep the same settings and just desaturate those values completely so we just get a clean black and white map and then we want to just boost those up tapes maybe to 6 so we get a lot more higher frequency in this create a bump 2d ai bump 2d node hook up the color like that hook this up into our normal camera and see what we get if i do isolate selected from here we should actually see some breakup if we boost our bump a bit again slow slow slowly see that there is some breakup going on check the displacement now you can see there's definitely some breakup happening on the surface which might be a bit strong so maybe just try point 1 and then we want the same map as our roughness map so I just create a tab ai range node connect my out color to that and the output red goes into specular roughness and if I want to view that mo that node we can't clamp those values a bit so we want to have a bit more shiny parts and a lot rougher parts as well something like that so we get a nice contrasting map you can also play around with the cameras you note instead but now you should be able to see that we get a good response of SHINee and not so shiny surface as you can see now here in the bottom it's super rough but then again we get more shiny surfaces overall I think this is too rough so we can just reduce our output max to may be 0.5 and now we should get a lot shinier result which is more something how that like this stone platter should be actually you can see the reflection still of the cake in here but it's a lot more broken up so now this is kind of our base look I think and you can see I haven't restarted GPU I didn't do anything really and it just seems to work perfectly it's amazing how fast and smooth everything works so next up is the cake the top part of it and let's just bring in the map for that if I I guess it's this one okay copy we'll see create is that the new shader no we just need to create a new shader for this standard surface hook these guys up maybe in to the ID slot for now and now let's just visualize that isolate selected on and I think well it's hard to judge anything right now we can't we don't have the pixels we don't have exposure I think I'm not even sure if this exposure will work oh this works actually so you can boost the viewport exposure and the map should be behaving accordingly so that's great anyway so let's select that disable the the debug shading select the cake again subdivide that four times like we did in ZBrush it takes a bit of time to update but now we have a subdivision by four to create a displacement shader and hook up the red channel to the displacement and the output goes into the displacement shader now we should get something so you can see it crashed kind of like the the surface just disappeared so let's just do a refresh here takes a bit of time but now you can see we're back in action and if I view the basic mode you can see now we got lots of little surface breakups just because we have this displacement map from ZBrush you can see I didn't spend too much time on it but it will do we will get the result what we want to from this map so back to the shader you can see a bit late lazy naming things but that's alright for the presentation here so we want a scattering shader and we want to you can see in a few different ones that there is some scattering going on you can see now this top edge here is like scary but the rest is super diffused so what we can do is do the same thing go to the scatter part and able this fully on random walk to and maybe just go down on the scale to 0.05 like that so it's almost just a few surface change our base color to this dark chocolaty tone something like that we can actually go a bit more d saturated and then go a slightly bit darker and the darker you go the less scattering you will see actually that's typical normal behavior so let's just move our window a bit over to that thin apart and may be viewed from the backside actually because our light sources are there and there so if I'm move my view or render window window right there you can now still see that we get some scattering going on you can see the white coming through and if I change the color to be maybe red you should see it a bit more apparent that there is some something coming through that thick object so obviously we don't want to go for red we want to go to a to a more brownish color this is going yeah I think this can actually work pretty well and if you want to boost that you can first of all make sure your values set to one so and yeah well that's too much you can see now it looks like a tough it's way too much and so if that's the case just reduce it until you're satisfied with the depth of that and just desaturate it even more and maybe half of what I had go a bit more in that color space another thing we can even go a bit lower in this so now we only see the top part coming through and the rest of the cake is very diffused actually which is which is correct and then the next part would be to break up our roughness and also our bump so what I like to do I like to sell noise pattern so let's just create another a I sell noise do the same as we did before create an AI bump 2d hook these guys up color goes in here and then we connect that to the normal camera and isolate the cell noise like that change it to wall-e I like it because it's like little spheres create or add higher octaves levels to this and maybe frequency to ten like that so we got a really fine detailed break up here and just we can have a look at the normals actually and if I boost these up now maybe 2.10 that's just geometry normals I mean let's head back to isolate selected and select a node and you can see now the result of this so on zero it's very very smooth actually like we had and the surface normals and then you can see if I slowly bring it up how the surface gets broken up back to this normal mode and you can see now this breakup is very strong but I think it might just work because the cake as well has just as this rough surface actually if I find it yeah you can see now there's this breakup going on maybe I'm just a bit too aggressive on this but what I like to do is just create an AI range in between all this hook this up instead and then the out color goes to the bump map and what I can do now I can clamp those values so we get actually kind of holds going in instead of going into both directions so to do that all you got to do is cap layout max maybe at 0.6 or something and now you can already see that a zoom in here you should be able to see that we get like very flat spaces and then we get these little holes so point six is a bit too much so maybe try point eight so just that we are cutting off the tips of these little these bumps and this is now what I wanted to go for you can see that it's a very clean cut but we still get this detail and now what I want to do is use that just create another range pea range which hooks up from the existing range like that and this one will control our specular roughness so hooking that up to - the spec roughness and do an isolate on this we can now see that whatever is why it is very rough and this is what we want we just don't want it that extreme so we want the highest maybe highest roughness to be maybe 0.4 and the lowest maybe 0.05 so now we are just adjusting our range we can well I just first see what we get actually so it's overall rough but then we get these more shiny parts I think this is actually very good already and if we have a look at the top section here also that break up is very nice and I think that just works so let's just remove our our window viewer there and let's just that is let it resolve for a bit so ain't that pretty so we see we get actually the way for working we just need to work on the bottom piece and I think then I think we get to go actually so let's just select the bottom part right click assign new material frame that selection and let's just do the same sets as we did before bring in our displacement which might be the base I hope that's that one and let's just hook this up to the ID do an isolate selected on that and maybe go up on our exposure and I think it looks like it's the one we'll see when once we apply the displacement so select that guy and go to the Arnold shapes change the mode to Kate Clark and maybe just do three subdivs on this and have a look if it's still there we just need to hook it up to our displacement shader color goes there and we just hook our output to the displacement mode displacement port I mean and yet we can see we get this little breakup happening and what I want to do now is let's just automatically just directly create a new AI noise this time and hook that up as well to the ID slot and just view this which looks right now like that so what I would just want to try if whatever I do I put in a negative number in here maybe minus 0.05 okay a negative doesn't work so we actually need to work with AI range so let's just increase that work tapes to four maybe just do a little region for the bottom part there and scale it up maybe by 10 add some distortion very cool and this will be combined with that displacement map so let's just do an area range and just move the range from 0 to 1 to a negative to positive range so right now we are 0 1 and what I wanted instead is go from minus o five to 0.05 and now we can just we might even go a bit smaller maybe Oh - and we just do what we did before a I add just add these two values together like that the color goes into the add let's just see the result we shouldn't see much because we are also working in that negative space now but you can see now we have a lot more detail in here and if this is now my new map let's just hook up the red channel to the displacement go to the basic mode and just see if it actually broken up at it a bit more and we can now see we have very nice detail it should be like a crust surface so this is kind of working already go back to the shaded mode and we wanted to be scattery too so also no base we go directly to scattering enable this full-on change our color to let's just pick something in here and just desaturate it a lot and go a bit lighter and our scale goes down to 0.025 maybe really low value and we want a similar color for the trend at the radius color let's just see what we get now okay it looks very brownish we want to go into it more let's see if we have a nice reference yeah I think on the top we want to go something more like that you can see actually how far it's the light is coming through so it's at least half a centimeter where the light is passing through this guy so if I move this our little region up here and just try to change or get to that same color we want to go more yellowish less green more lighter color I think that is getting pretty close and then we want to light a radius so the color which comes through should be a bit more on the yellow side like that I think that's that's fair enough and good enough for the crust and you can do the same with that clipping if you want just to get a like a cleaner cut but I think you get the idea of what it's supposed to look and obviously you need to change or adjust the route the roughness a bit if you want a rougher crust which i think is makes sense maybe try 0.4 and something like that and maybe what we can do now is just try to find a nice frame something like that is interesting and maybe remove our resolution gate and see what we get now and just let it resolve for a bit yeah so I think this this works very well if you if you think the reference is too strong obviously you can't just alter that but I think for this demo it's working very well what we didn't do still is add our little mint leaves and I just want to do that fairly quick now so I will just stop the render right now and just save this camera angle by clicking on think this little bookmark here if I right-click I can always go back so if I move it I can just right click and I'm back to that view so for that little mint leaf which where is it which looks which is already UV so we should be fine and that it some resources which looks like this little opacity here so all I got to do is actually just create a plane creates Halle plane like that move it somewhere around here and then we can just scale it a bit like that we can then add modifiers if we need to just make sure your an edge mode and maybe we want to view it quickly and I'm not sure exactly the orientation so what we first want to do is assign the new shader to this go to our base oh let's actually go directly to scatter we wanted to be translucent so the geometry trap I'll make it thin walled so it's expecting a thin a thin material which is because it's just single sided subsurface way to maybe one the color would be our file in node we will browse to that directory which should be not there so I'm just selecting the base color and it just visualize that and that's the orientation so that's what the orientation is currently that's head over to a default look and what I want to do now is just very basic stuff hitting B to soft select changing the radius moving this guy down and you can see this is very rudimentary nothing really too crazy going on here I'm just kind of bending the leaf a bit maybe we select this whole edge here and then maybe move this up so it's kind of bendy and we can also rotate it just to break up the default flatness to everything rotate this a bit rotate this a bit in the other direction and maybe extend these guys a bit further like that so this is our very simple leaf if I bring back the texture like that you can see now our leaf is bendy we can scale it down again like that so we just have some kind of placement and I just want to put it maybe obviously now I just want to move my pivot down to that location so I can just rotate it around that axis and I can snap it to my to the ice ice cream there yeah so this would kind of be the one leaf and I think we should need to it should Bend actually in the other direction so what I can do now is just select this whole line and this one here move it down obviously I'm really distorting the leaf no but I think that's how they curl and/or warp these leaves so that's one leaf I can now just duplicate that rotated in world axes like that maybe move it up we will get into sections for sure but that's not really the part or the idea of this video just - one more rotate this in this direction and move it slightly over I guess this is all I wanted to do for now and now in the hypershade we need to assign the rest of those textures so let's just frame this guy so we have a base color we still want to get opacity translucency and bump so I'm just dragging these and why doesn't that work so I just dragged these guys in and now we just want to connect these guys up and let's see what we get so opacity obviously would go into the opacity slot the translucency would go into the scatter radius and the bump would need to get a bump map bump 2d slot like that hook up a color connect that to normal and what I like to do which we can test is just to create a displacement shader as well and just hook up the bump to that displacement and connect the displacement to that and maybe just for the for now just disable the bump in general hit save and that's just first before we start it let's just subdivide those surfaces a bit so go to subdivision cat o'clock and maybe three sub lives for all these three leaves like that hit save and let's just start the render and this time I will be working in the Arnold render view just because I can swap around things so I hit play and see what we get and we can see a really distorted leaf and obviously we would need to tweak our displacement shader on this guy so let's just reduce the height maybe by quite a lot and just see what we get so this placement shader and just reduce it by a lot maybe just 0.05 and switch our mode maybe first do resolution maybe 50% go 1 2 1 and just read render that region and change our mode to basic and we can now see that we actually get some nice displacement happening which is cool so we can if we want we can boost it but I think on point O 5 it's good enough and let's just go back to the shaded mode and see how we can work with these leaves now so right now we have subsurface look to this the way it is on point 1 so what we can do for the translucency here is it's super translucent we can just change the overall intensity so we can just go to if to color balance I just the default gain it down so we should not get a strong translucency anymore and now let's just rotate around those leaves and see how it behaves in general when we see some specular hits on it overall I think it's working very well so we might just play around with the roughness of this and then we can just go back to our original view and see what we get if I right click our camera icon our bookmarks I can we can swap to the camera view which we selected and we hardly see those leaves but I think it's it's good anyway so a cool thing what we can do now is just try to add a few Beauty lights to all of this or maybe actually rotate our main light slightly towards more backlit just to get some shaping now you can see the leaves working very well and you get this reflection there which is cool so that's just maybe the move this renderview down here and create a new perspective camera like that or we can do now is just create some lights Arnold area light and maybe move this guy up here and you can now see I will do some minor lighting things and if you want to make it visible there is now the visibility slider point one here I'll put the camera to one and you can see the light is now visible which is very cool so what we can do now is just boost the exposure place it so maybe try six so we get some nice light going on here can see another translucency through the waiver wafer and the leaves so move it up maybe and just place it however you feels fit we can have smaller light sources for Crispus shadows we can also change our spread to maybe point three together more like a spotlight look and what else can we do we can make it a bit rounder and a soft edge if I view it now we should see a softer like kind of a softbox look to it I'm actually not sure if that's this is showing doesn't look like it's really displaying though but it's if you render this it's actually a softer rounder shape to the roundness to all of this all right so what we can do then is just play maybe with light colors and placements a bit so let's say we want a more like a warmer light source from the top maybe something orange looking just to get some shaping to this nothing really special but just playing around a bit so one more light let's do an area light we want it from kind of that direction boost it up maybe to eight so we get some light you can now see the scattering appearing just because we have this light source I'm boosting this move the light down spread down to at least half maybe 0.3 it's more Direction directional now we can actually do also look through selected like that so now we live in inside that light we can move it maybe slightly better something like that if you don't like the soft shadows you can fairly easy just change the scale of that light just by scaling it down and you should see now if I just region right near this bottom section and I change the scale you can see the shadow getting crisper and crisper which is cool and now you can see how the scattering works on that so if you feel that is this is too strong go back to the shader first of all reduce the saturation of this like that and then obviously the radius feels too strong maybe really slight it's not something like that I think this works a lot better the way for other think of the base of the cake works great I like that transition and one last thing I want to do is maybe add a light to catch just a few more highlights on the left and I think this one was reflecting too strong on that surface there so let's just reduce that exposure we should still get something on the cake though so maybe move it down like that I think that's cool if it's now visible let's just hide it from the view so it's invisible and now just one last light source to just get something on that water move that back a bit create one last light area light move it somewhere here and boost it up to eight and now I see we already get some highlights on the side of the cake so a good thing is just to look through it and roughly place it you can also view it and then you can see now it's on that side here I can move it back until you get it where you want it to be the thing it should be somewhere here so we catch more of this lighting on the side of it just to visualize the like how soft and smoochy the cake is or suppose so it's supposed to be and then obviously you can I always like to keep a smaller roughness a smaller size of light just to get crisper shadows you can play with the spread again maybe 0.5 and if this time I want to have a more blue color you can use color temperatures well blue set up and now we get a blue light here and one last thing which helps to sell realism is obviously depth of field because we are on a macro or a close-up shot we just want to make sure that we respect the depth of field so all you got to do is select your camera which is in this case perspective one go to the Arnold tab enable depth of field at the bottom here change your focus distance and aperture aperture maybe to one and now you can see everything is really out of focus you can go through the basic mode to quickly dial in the distance and you can see if I just move that how really how fast it is to hit a nice focus point and that's just obviously aperture of one is very crazy but you can see how really fast this resolves it's a treat to work like that honestly so let's just reduce the aperture size to get a less shallow depth of field I think this works so let's render that whole thing you can see the table is out of focus the cake isn't focused but I still want to do though what I forgot to do is set up our focal length and I like thirty-five is a bit too too too distorted so I like to go maybe up to 75 and for that we would need to go back in our camera so perspective one just goes slightly back and until we're happy with the framing go back a bit more I just lock that as our new position and now we would need to readjust our focus obviously because we move back so just increasing the focus distance until we have something which is nice and crisp InFocus I want to focus on that ice section so let's just do 100% and focus it until you see it crisp I think that's fairly good full frame hit F to frame it so now shallow depth of field in the front really crispy here and I'll be back with a completed render while is resolving I changed my a samples to 54 the GPU so it's 51 1 1 everything on one and I added a RGBA aov and in that avi just checked checked the box Dino is with optics so now I should have a denoise version of this and you can really see how at the current state how the denoiser works it's it's still obviously refining it but you can see it's already denoise after like just a few seconds and the beauty is still cooking so it will get cleaner and cleaner and so will the the d noise version so I'll be back once it's resolved so I think this is now more or less around 5 minutes resolving time and it's still fairly noisy and not really usable I would say in production but that's why it's still in beta obviously good render times are between I want sure like 10 or 60 minutes or something like that the D noise version looks cleaner for sure and it's workable so unless in the front where it's a bit out of focus it's not perfect but it is definitely good for interactive lighting shading and I think that's right now the main idea use GPU to quickly get something going for a good look good shading and a good interactive experience but still render the whole thing on the CPU or that's my current understanding and that's how I would currently use it so if I just hit stop now and I'll just save that image down to disk say multi-layer EXR and I'll just save it to the location which is somewhere here images let's just do a cake m2 a five-to-four GPU EXR and then we do just as a quick test the same with cpu and all we got to do is change the settings go to here change the mode to CPU don't have 50 AAA for that maybe try we can try to use adaptive actually so let's just do a minimum of three and able the adaptive and maybe go up till 16 and before we had rendered just render that little section here and I'm just changing my CPU quickly to 39 to get just a fast turnaround bucket size maybe 16 and let's just hit save and just update scene so now it's rendering on the CPU and I enabled progressive rendering so it's progressive adaptive so this is our current status and it's up on 30% now and it does do the same job so if I just first go to the basic mode and maybe just just let's just disable progressive for now so we just get the final render image and maybe let's just focus to a region around here which is now in focus and let's just render that and see what we get now we can still see we get some noise especially in a scatter II parts but all in all it's fairly clean and very fast and for the final step and we still have the D noise section once the beauties it's done rendering we should get a D noise version too let's just see once that is done like that let's just check the D noise 1 and that is super clean now just because we clean up the little sample noise we don't have the nice speck though because that the basic one just calls out values higher than one so that's not really helpful but let me just increase our settings so let's just reduce the threshold maybe half of that 0.25 and if I just store this image before we change it let's just see if we get rid of a bit more of this noise and especially in this area here I'm looking there so before and after you can see now we get rid of even more of this noise if i zoom in a bit you can see it's a bit more apparent and that just seen that shadow area once we see the buckets cleaning up there we are right now clean half way through I think slowly moving down in the shadow area you can see the buckets cleaning up there I keep switching but you can see how the noise gets gets cleaned up super cool I think they also spend more time on that data sampling to get that working even better and yeah I must say that this 3.2 release and with the new Arnold core 5 point what is a 5.3 I think very great and it's just a treat to work with Arnold now it's super efficient so I will just render the CPU full image and then I'll be back alright so that is the final render after mere 5 minutes of right no time we have a pretty clean image if I check the denoise version obviously we get no highlights but it is super clean so you can use the offline denoise and it will all be very nice so let me just save this out to disk and then I just want to give my last remarks on this and I gotta say it's it's coming a long way it's really fun to work with that now it's it's just really intuitive you can just work you can plug displacements plug it bombs to isolate modes on the GPU and ever works super crispum super smooth and it's just a very refreshing way of working and for final renders I would not suggest using this just because as you've seen it takes a while to resolve and you will always get these little fireflies and hi-spec areas or high sample areas so play and the GPU working at interactively but once you are happy to render a sequence or run into disk I would recommend using the CPU version instead it's not a it's not a bad thing it's so good and the beauty beauty of all this is you can easily just swap between GPU and CPU or get the same results so that's very nice and well I hope you enjoyed this hands-on video and as I said before if you want to join or follow along it's all on patreon I really appreciate your support on that platform and also obviously on YouTube it's really helping me to keep content creating content and just moving forward I really enjoy reading all the comments and I just appreciate all the all the nice feedback I'm getting from you guys so thank you guys for watching this tutorial and I will see you in the next one

Channel: Arvid Schneider

Views: 22,385

Keywords: training, tutorial, learning, lesson, beginner, advanced, lookdev, lighting, shading, maya, arnold, rendering, procedural, GPU, Interactive, Graphics, arvid schneider, mtoa, arnold render settings in maya 2018

Id: 7ItAok94LYQ

Length: 57min 6sec (3426 seconds)

Published: Sat Mar 23 2019