Realistic Glass in Maya, Substance and Arnold using ACES 1.2

all right let's see okay it says going live you are live so I had some issues as you recall I had some problems with my stream key then I was on 4k and then I now I'm back to 9 at 1080p so I think we good let me know lurking while working yeah so let me know nach Atavist if it's good now so anyways I will start again so I didn't do a live stream in a while just because it's always a bit of a setup and you need to prepare and all not and so I just thought I thought it's a good opportunity everyone needs to stay at home self isolation and staying healthy and even now is a good time because it's actually a holiday at least here it is I think it's everywhere because it's Easter and I want to wish you all a Happy Easter and I hope you got some nice chocolates if not maybe you should get some anyways so today's idea is I will be starting a little asset from modeling to texture we would do that in substance painter and then we bring it back to my and just render that using aces and the motivation is that on my discord server I started a team challenge where everyone who once can join to model and texture assets and all I picked one asset in in that challenge and I'm just doing this right now and if you want to join that challenge we have a few items left not the most exciting ones but it's it's needs to be done feel free to head over to the discord channel and join it actually let me share that link quickly oops not this open up this Court one second going to this invite people let me just do this with the proper link I had before and lights and I think we will just copy this oh I just create a new one sorry sir it's a bit of a hassle waste to do things invite people and edit invite link expire never okay I think I got it so I'm just pasting this here so let me know if this works also my discord guys they can actually chat in this court directly and it should show in the feed as well I think it does and yeah so I hope you like to set up I hope the screen resolution is good enough let me know if that is good if not I will need to make it a bit larger I can also move a few things over so we have a bit more screen estate here and so let's do this there sorry now you're a part of my setup I hope it's not a big big problem and doing my window all right I think we're good I hope I hope the stream is fine I'm not sure why did this quartet doesn't show but anyways okay I think it's time to get going this is actually the reference I'm working with so you can see it's a red sari it's a photograph from Anatole che a super talented photographer and I think I have his link somewhere up as well let me just click here in OBS to have the right things open let's the browser and hide the reference so this is his 500px website his pictures and at the bottom he has all these nice still life shots and I just picked one for the challenge and we are working with that so it's a very talented artist and I hope he's fine that we are dissecting his images and we creating them in 3d all right and I will be focusing on on this little or on the big glass bottle actually so I think it's time to get started let's just bring up the my window and then we are good so Maya's active I'm just reading through the chat quickly screen says good it's like we can explain what aces is we will go to aces once we start the rendering side and yeah okay I think let's do it so I will bring in the reference into Maya and just as a heads up I am NOT a modeler I'm pretty sure I'm doing not everything as it's supposed to be I'm just loading in the reference image fairly quick doing it off screen and then we just go from there so let's see this is the reference so this is now my image pain right now in perspective we want to go to the front and let's just do this in here actually I need to go back to the perspective go back to the front and this would this will be a longer stream just because I'm actually doing everything from scratch and I will not be I'm will not be editing it right so there will not be any speed ups or skips or whatnot so this stream in the end will be uploaded fully on my channel so you can follow along later if you need to if you don't have time now it's all up to you so this image now is not an asus image it is actually a utility sRGB image so we go all the way down to look for it and now we should have the right color space like that and this is now at least this is the process I always used to do what I want to do now I just want to move it up so it's actually in the origin guys are the most annoying frittering the most yeah all right so let's just I think I can somewhere move it just like this yeah all right so I just want to place it so this is my center line my origin of the scene I just want to roughly place it in the middle of my objects all right which is now I think this is fairly cool and I'll be just obscure G I'll be just starting with or fair cylinder fell easy actually alright let's try if this is better I actually use a Wacom as well so let's see if this is any better maybe it's not so loud and when I click alright so let's just move this guy up you don't have this option anymore and what I always like to do first is just delete the top and bottoms let's just do this like that get rid of these guys so well now we just have a super simple cylinder and unhide like that all right I'm not sure if we need all the component all the detail but I think we just do it so what I do now I just scale it up and i roughly place it where I need it to be always scale uniformly go o f9 for editing mode and then you just scale those things up until you satisfied and this is now the process so obviously yeah I don't need to explain all these steps now because I think most of you just know how to do these kind of things that at least know what even better than I do let's just do ghosting so we can actually see what we do and then I'm just scanning it down clicking shift drag opens up this quick extrude mode like that and it's important to actually follow the reference fairly good obviously this image here is distorted could be your my chrome is a bit low which today I normally yeah I don't want to scream in the my I can maybe lose the 1 sec I went to the app now and pushed the the gain I hope it's not distorting now but let me know if this is better and yeah so let's just keep going and moving those edges so we go down a bit more and then we go down and we start this little band here at the bottom okay well I adjusted it I hope it's not too too loud now okay so let's see so there's a little softer loop here so we need to do that as well so let's just move this guy a bit higher than we do this extrude it out slightly and then we do another one like that and we go up and then we go not a little bit up like this so this would be the base shape of it of the of the glass I don't want this loop here right now so he can just do the lead component or the lead edge I think that gets rid of the the vertices as well so this would be now my rough shape obviously if I had three to smoothen it I need to we need to add more edge loops and I will be doing this right now always make sure you scale it uniformly otherwise you don't you have a skew bottle so you can either do connect components which I like to do quite often which just adds me a loop or you can do like insert edgeloop as well so I'm just focusing on the left side now double-clicking the edge to select the loop and then I'm just doing another insert connect components scaling it up so it's nice to the shape of the bottle and let's do it again with the components hitting G to repeat your last action it's a nice fast way to just model if you just hit G all the time I think we need another edge loop here just to get a better read on this shape let's see what the comments a better it's known pair of you okay cool yeah I know I know that the substance painter steps are more important but I just wanted to show you like an A to Z thing and obviously if it's late for you I heard some people are in India watching right now and for you guys I guess it's super late or it's super early in the morning as I said all these things will be uploaded so you can watch it tomorrow or whenever you have the time to do so I just thought I have well I'm at home I have time and I just thought why not do it so everyone has something to to see maybe someone needs some modeling help maybe this helps I don't know alright so I think that the top shape here is pretty spot-on we need to get some more detail in the top here so what I can do I just right click and bevel the edge to give you more detail I can change the distance here with the fraction control drag makes it a finer refinement stage and then we want to definitely bevel these two guys and we want to maybe add some more segments to get a nice crisp edge on the top here yeah ok 2 p.m. 2 p.m. is fine I don't think everyone that says 2 p.m. now but ok I still think this loop here we need some more edges so I will be just using the insert edge loop tool here and just to add another loop that's better and even this can be a bit scaled up just to get some subtle roundness year so it's not super straight because honestly I'm not sure if you have had had the chance but if you work with glass or if you actually look at glass it's not perfect it's not it seems like the selling point is always oh it's a perfect glass but if you look at it closely there's always bends and deformations even like this little IKEA glass is not perfect alright let's just focus on the bottom here so we are at this stage and let's just now we need to go at the bottom actually so I'm just dragging the perspective camera and I'm just hitting our for my scale tool shift middle Mouse drag shift on just like that we get the bottom edge loop extrude it inwards and now I'm free-balling yeah because I don't know how it looks from the bottom but I guess there is some kind of little lip which will we'll add a little bit later and then we just scale it down even further we go up and then I think from the inside there's like a little little curve there I don't have to okay I'm not sure that this court said in one second the discord thing is not really showing one second to show oh it does only show my stuff interesting at one second yeah I need to see what's happening oh no it does work it might just be a bit slow I guess anyways sorry for that we just continue now back to the base here so we move it up and I think that it makes like this little bend towards the table and also this is a record by the way we have 104 people watching and I think my most I had so far was like 75 or something so this is for me like a big milestones and I want to thank you everyone for tuning in for sure as this is it's almost like if you could fill a like a whole classroom or like a seminar room of 104 people so it's pretty cool yeah so now let's just hide the image plane and let's just do like another extrude towards the bottom and then we right-click and say fill the hole and then we just do some quick connections here connect components and then we use a multi cut tool from this door to this hit enter and then I messed up with my initial things here but we can maybe just do this this and then we do this and this this and this and I think we have quads yeah this should be good I think you can also do like a selection if you don't select any other points and you can right click and do circle eyes and now we have round vertices which is great I don't I think we can't scale it up a bit something like that cool stuff all right so at the bottom this looks like this and then we want to obviously add some more edge loops because I think this guy needs to be sharper so it needs this guy so or shift right click bevel edges fraction like this okay I think this is good I'm just checking a chat all the time so you can see my head going over so I for this I will be I'm not really texturing a lot but I will be using i will be using substance painter today I work with Mari before and a few other softwares but I will be working with painter today and that was a question in the chat just now why I didn't merge the edges at the bottom instead of doing like this little thing at what I just did and the reason is if you merged them and you have like an end gone and you have lots of phases connecting together then you get some weird smoothing issues I'm not sure if we need to do this step here but I just thought I'll do it and add some nice detail when you refract it so now we have a harder bottom piece here like a thing there let's just go back out sorry that's just an isolate and let's go back to my front camera and also there are so many questions I cannot answer all the ones so if you have the answer to one of those questions feel free to be active in the chat and also just collaborate it would help me at least a bit alright so let's see I think this is all good all good so now we will be working on the inside and I just want to don't want to push it in I want to just extrude it and I want to make it super thin because if it's thin you get some nice detail great your outliner makes me uneasy yeah sorry let's just do this oh it's so much better I know I sometimes have to do that because not older notes are displayed and they outliner alright so I I don't think we need the reference anymore at least not for now and I will be just I think I can just ctrl H it to hide it go into perspective and now we need to do this inside part and for this I will open up my other thing here why is there no perspective now split what do we want to do split oh there it is okay well now we have a lot of panels sorry and we need to figure this out oh no it's totally messed up dang it now yo its side by side stacked that's what I want alright so now we have my perspective and another perspective but this one I can actually change to be my front view which helps me to actually see what I'm doing so okay saving I do this on ghost mode so I can see the inside and this will be my working view let's move this over like this alright I do hit oops I do hit control s all the time you know working with Maya you have your your things happening okay let's keep going all right so let's just scale this so there's some kind of thickness the thing is a few like especially old bottles if you drink from them the inside is most of the time super round like if you imagine coke bottles the top is not so sharp that you can cut your face with it so that's why it's super soft here as well and I will be just extruding one more time to do this softer lip here and then I'm just going down let's go down so with this the top part is thick and we are a bit too thick so what I will be doing now is I'm just hitting shift and bigger than sign which grows my selection and then I will be just scaling it this time just on the z and x axis like this I just want to make it overall a bit thinner like I'm looking at the side here which is a bit thick still so what we can do then we can just do an edge loop here and go even bigger it's like some I think this this might work and then we just need to scale these guys back out yeah I think this is good all right you can see like I'm paying a lot of time just to get the model right because the model is essential to make a realistic image and yeah so it takes a bit of time and I hope I don't bore you with this but the good thing is you have lots of people in the chat to talk with so also again if you don't know about it I can actually pin it we have a discord server where you can be very active and do lots of ask lots of questions and whatnot and we almost have a thousand people over there it's pretty impressive I just shared this court channel again so would be amazing if you can join if you if you are not on there yet yeah okay let's just go back to one and now I don't want to extrude it right on this actually I do want to do that because if I smooth that it will smooth the same way on the inside and on the outside so I'm just kind of mimicking this exactly moving it back down and scaling in it just to get the same thickness everybody can actually be a bit loose with the matching of this of the thickness because the bottle itself can be occasionally thicker and thinner at certain areas which will give and I will actually model that in here as well just to give some kind of breakup which will help sell the look and this is also true to any glass surface they are not perfectly round sorry perfectly they don't have the perfect thickness all right so I might need to revisit them after rendering after seeing a glass shader on them because they might be a bit too thick still just moving them down further and for the bottom here I will not follow exactly the the shape here because I think the bottom here especially the lower corner is a bit thicker so I'll just be doing that as well I'm moving it down you can see now the bottom here gets a bit thicker and then moving it down scaling it and then we do another extrude and then we go up like this and then we do another one and then we finish it up so what we need to do now is fly in here and pretty much do the same thing I did just before so we do right-click fill the whole we connect which piece did we connect these ones so 112 viewers amazing it's really still growing so maybe invite more people why not it might make it even larger and would be great if you have friends share this link maybe be cool so connecting multi cutting all the basics here but it's I think worth it at least to freshen up on those and this and that and this and that and we can do the same nice trick here so we can't just do yes we can do actually if I hit tab I can paint my selection and it respects only the top should we select the bottom and then right-click circle eyes and we can radial off set it to have something like this alright saving this and I think this is now the base shape of the bottle I think is fairly good there seems to be some kind of hard edge here so let's just actually assign a standard surface shader and let's do some thing like this so I do that just to see how my edges are behaving and you can see there is some kind of weird thing here and this just might be that it I have one too many edge loops there oh what's happening something did update away uninstall isn't the butt of the class so late I'm not sure what that question is hey pawn says yeah I am I'm trying something you can see that alright so yeah I just wanted to go back to the side view here and just see if we actually need to have this one edge loop here which makes it a bit harder I think this is the bad guy maybe we just need to scale it out a bit just to get the nice around this year yeah this might be better I'm just looking at the ping how it's traveling on the surface and I think now it's it's pretty even and and then what I was saying about breaking it up so now I'm just going in here and just roughly just scaling them the inside edge obviously it should not poke through but we can go fairly close to just add some variation in the thickness and what you can also do you can just select single points and I think I need to do that from the inside I'd say just select this guy and just now break symmetry just move it I just slightly moved it and slightly will move this and this this will give you especially full glass objects if you have refraction and you have a thicker part the Rays bent a bit further than it normally would be and then you get some nice edge breakups or refraction breakups and yeah I just keep pushing through some of these obviously you can do that with a bump bump map as well but yeah all right so we have this so let's I think we just need to model the liquid and model the cork the cork is fairly basic I will not spend too much time on this but I will just create another cylinder and I will move it up like this and I'll just scale it down until it matches I'm just matching the left side here like that and then we hide this image plane and we do so I'm just reading the comments quickly [Music] you have to use certain edges to fix faces I'm not sure it feels good all right anyways why is this not in the center because I think I moved it why did I move it I didn't move it I move this oh I moved this ah there we go right so let's do this fairly quick I want to I always wanted to do that I don't know it's just a habit of mine I don't like these Eddie's pointy whatever it's called and Gonz don't like them never did all right so let's scale this bottom piece down so it actually fits in here and actually we need to bring back our image to adjust the height obviously the camera is a bit going upwards I think so we need to make it a little bit lower than it is and then we just extrude it like this one more time that's enough for this and then we do an isolate and do the same for the bottom here I'm sure that is a way faster we had to do this little prop but yeah you know I'm not modeling that often anymore or nowadays I had to do it a while back to get my actually it'll to learn a job to be a more like a generalist but luckily nowadays I can just focus on look dev and lighting which makes me happy I don't I don't care now about the rest because we will not see it from the top so this is more than enough let's just go and insert some edge loops here one needs to be here and then yes we've done one do one there and that all we need to do is their two edges here no just move it down scale it inside just to get some kind of softer top here okay I think that is that's it for the cork it doesn't we don't need to pay much attention and but now comes the interesting part which is the liquid and aces do I have to edit the color picking Power Man to you till yesterday we text you like in a mournful Moyne it's up to you what you want to do there I think the default is out but sRGB if you want to use that as a pick-and-roll just you just need to be aware what is what is in your settings right so I I think I have it on utility sRGB for my picking role but it's definitely a personal preference what you want to do there so let's just select the faces for my insides here two faces come on and then we just do gross selection and then I'm not sure how much we need it's not much okay so we are actually too high but I can just move it down and what I do right click I will do extract I will do duplicate faces and this should have duplicated or created me a new geometry it did perfect so now if I hide my liquid sorry I just need to first before we do this I just want to insert another edge loop here which is my height of the liquid pretty much let's just do this again incidentally let's just do this and then we just do this and delete it so this is now my liquid and we need to obviously at some point reverse the normals because they are inside out now and we can actually do it now I think it's and the mesh menu I always mix these things up it's not why blind maybe it was there oh it's in display I guess and then we just reverse it so now it's correct and then we want to do some cool things with the liquid we want to obviously the liquid because there's surface tension at the surfaces of the glass attract the mesh I don't have thirty viewers by the way who I like that so we get some kind of surface tension I'm not sure I'm not a physician a physic physician no like that's not the right word I don't work in science that's what I want meant to say but we need kind of this effect which is like a really nice surface tension like the liquids just go up to the sides and then we just because it always levels out we just do an extrusion to just go to the center and we just do one more time we do again the same deal fill the hole and we do the connective components so you can also just do multi cuts and then we do the multi cut here and here enter here and here enter here yeah here yeah and then we do the same deal we hit tab to paint we paint those vertices with your right-click circle eyes and radial offset something like this we can add alt shift D to clear my history and you know you can see if I smooth them this we get this little edge there and what we want to do is add an edge loop here to get a nice crisp edge like this so now comes a thing which you need to pay attention to is for rendering glass you want the liquid to be a tiny bit larger than the walls of the surface so I'll just be scaling it up a bit fluid sim Houdini sim oh simulation it's not the best thing to do Sims on a live stream because you just have to wait a long time alright so you can see now it is actually a tiny tiny bit large already which is perfect so you can see this here is the inside and then the liquid is a bit larger but it's at the bottom it's right on so what we need to do hit f9 to get my virtus vertex selection and we just need to move these guys slight amount downwards like this so now it's going over all these objects so this is perfect so now my liquid is a little bit larger than my glass body this will help in rendering and I think now comes the shitty part which is you ving it because we need you these because we want to add these nice drips and if I bring back the reference image you can see that there are there is this these drips and all the stuff on the liquids there so on the glass I mean so we need to have a nice UV so I will be doing that now and I hope you can't give me some give me some feedback on you ving because I'm a really new book doing that alright so saving and let's do the UV s UV tool kit and my UV editor at the top and then let's just do all shifty to clear the history this is the cork I'm just naming them quick quark shift to unparent this would be bottle and this would be liquid safe alright so and we can delete this right now we don't care about the cork we don't care about the liquid just the ball so right now really messy stuff here so what my first thing I do is like if I depending on the object this is now our cylinder object I'll just assign a I'll just assign a quick cylindrical thing here so this is the cylindrical one but then what I want to do I just want to do some seams right I want to cut it somewhere because we need to unfold it so we have nice and undistorted these and we need to do it from the inside and for the outside so what I want to do I use the cut tool I just select my edge loops I don't want this in the viewport so you can see this is an automatic seam here if you click Auto seams it's a nice idea but it never does really work so what I want to do I want to cut it so one is here so I can do cut I'm not sure if this is now an issue here it might be what if I do stitch okay not no seams that's what I want so I want this to be a seam so I cut it then I'll go all the way up and I want to cut it here I just cut it at the top cut it here and then we need to do the same for the inside as well but we can deal with this a bit later so and then we just need to find a nice location where we want to cut it down but I just do this so like this guy shift double click it up till here which adds this selection and then I can just cut this as well and if everything that is correct if I had unfold now I should at least see something yeah we do see something so we see the the outside is already unwrapped you can see it's we just need to align it better but I think this is what I want to do and I hope this is the way to do it so this is the outside then we have the bottom part and due to UV shell and then we just need to do the same thing for the inside so we have the cut already we just need to do the same I guess we just do here cut it and then we just need to do the same edge just this one and then we go all the way down to here hit G to cut it and now we can just do unfold again and now I hear something weird I'm not sure why this piece is not working let's just do a top-down I think you can is it projects middle miles project why exes let's do this alright and we can do the same with the bottom part as well we don't need to really unfold it so just tabbing selecting like that and we just grow it like that and then we just do a middle click on the plane are and now I hope I think this is it let's stick with the comments say yeah I just I think that's what I did at some point just that clear out all the seams and just create that myself ok so let's just do I think so now comes a question what you do I think you can just do a layout and it does this for you and then we need to do some magic on these guys so what if you optimize and we can also straighten them I think I need to select an edge though I know that's not what I want let's try this okay I know you can see now this is where I my skill leads me I don't know how to do this now better so this I just did this actually and I just used optimize it and then this is what I had and I want to have a bit more detailed so what I want to do I will move these two pieces to one sorry this the inside and the outside to one tile so I'll move this here and then these two guys can just be in its own tile so I think this is the way to layout it yeah so I'm will do the same here layout it we can just lay out it and move it over I'm not sure if you can just move it over same so let's just do this and where is it layout like that and we just the thing is now the scale is totally off which sucks and just move it up so I think we just need to do it like at least scale it manually we don't we don't need to have it perfect I guess so let's just bring this view and just see the scale so these are a bit bigger so that just moved them just scale them down up so I'm just looking out the check upward side this so that they are roughly the same and the inside one it's also a bit too large so let's just do this so there was one comma and that I need to freeze my transforms would I which I think I did not do which I will do now and then he's maybe it will be better so let's try select modify freeze transformations okay I'm not sure let's try to UV shell UV toolkit and do an unfold yeah I never I knew it really what that text love thing is but uh yeah I think I have it now so fine fold no it's still the same does it does maybe a bit better but okay anyways let's just leave it as it is so I think we can now we have working your visa at least it's a bit skew but we don't care much Hugh's text the lens at ease okay where I'll compress it but I'm not sure exactly what to do here I've seen it somewhere there's this option to do that there it is so we want to have what is it fourteen ninety six is that the way to do it I don't think so the thing is the stream is there lagging a bit so I'm not sure what this means oh I see what it is I set it to all the ones ok I think I got it oh I think I get it interesting ok so now they're all the same Texel density got it well it was close enough though ok I think this would be it so what I want to do now I want I want to have my low res geometry and then like this save it and this would be my base model or my base mesh and then I want to subdivide it so this would be my low and then I duplicate this which will be my high model and I want to subdivide this mesh smooth it and then we can just do two or three subdivs which is this now and then save it and then I want to do cache Alembic cache export selection - Olympic option box current frame very very important checkbox which I always miss is UV right needs to be on Oh actually I think you didn't even see that window did ya I don't think you guys did see it no it just doesn't show the menus that's unfortunate well cache I'm thinking cache alignment cache export selection making sure it's on current frame and then you weave right export selection and then I will just be picking the scene folder and then I just do but so high obviously you cannot see any of those steps right now because OBS I only picked the my window but it should not be an issue like I guess it's fairly straightforward and I just do the same thing now with the low select that cache a lambic export selection and then we pick UV right and rename it to bottle low like that export selection yes the stream will be saved a question was what I do and we need to why didn't I pick Kat Clark I thought that's the default is it not the default that is the default okay all right so I think we are good in Maya I mean I'm just using I used to use alembics all the time I don't know you can use anything you want you can use obj is if you need to I don't know all right so let's switch to do jean coverage in the house let's switch to substance and now comes a thing which I am still learning so you guys can probably help me but we will see so substance window nothing is in here so I'll just go file new we do a PBR metallic roughness workflow we select the file and you guys see nothing of this which sucks okay let's just do it a bit different I will instead be showing my monitor let's see hide the substance let's just bring my main view on the top all right so now I'm just sharing my whole screen it's just maybe I need to do this here one second sorry this is now I just need to reorder all these freaking streams here okay I think we good so now it's I just have my desktop so it's a bit better you see all the pop-up menus so whatever I went to file new PBR metallic roughness workflow select my file and then I just need to go to the file I worked in which is at work training live and then somewhere here is it the glass Maya and that in scenes I just import the lo model yes I want to create texture files we want to work in 4k to get all the detail and hit OK okay so now we have this we can also I think at least my computer can't could handle it I can just work in the high res directly and maybe let me just actually do that it just start again select the high and just working the high 4k important compute over bub okay discord okay so now we have the high mesh this is my UV sets and yes I'm German well I'm a German German I have German roots but I did not grow up in Germany and 4k is the standard I think you can work with 2k for sure but yeah I like 4k especially for this hero a side which will be fairly big which is like this it's big and frame we will render this maybe into 2 or 4k so we need the resolution I guess yeah as I said I'm not the master of substance unfortunately so this is just how I learned to work with this so let's just first create all those mash Maps baked mesh maps in the common one we want to use the low poly as a high poly mesh because the low poly is my high poly and I think this is all we want output size we just bake it in 4k as well I hope the screen does and it should have issues with this I don't have ID so I don't want that occlusion curvature thickness okay let's just bake little texture sets and see if this goes through oh I didn't smooth the normals I see ok no problem though I can work on the high one it doesn't matter much baking now the Maps and yes I used pretty much to uddham tiles for this flask but I want I don't want to have one 8k map I want to have a 4k map which has you them so I can push all the details I need to in this so this is the reason why I do that and it's it's a good workflow to just to keep using I don't know use of you times why not there's no issue with that all right let's see what we get it takes a bit of time obviously big maps and then we need to see what we need to set up for so ideally we want to display a transparency in here so we need to add a new channel I think it's called opacity or that translucency on ature almost done I think and then we can at least display the translucency in substance directly and we could render an IRA here and so the main things we want to do actually I can bring up the render at lease or the reference in here as well just do it maybe on off screen quickly and go to the folder so yeah so essentially what we want to do we want to create a bump map for the liquids for the for the bumps sorry for the droplets and then we just want to get some some drops some just some break up everywhere here and there all right so we have all my maps we don't have IDs which is all right and yeah so I thought we need to get a channel here I think it's called opacity then it's just to go here and then we have all my maps and let's see if we go down and we have opacity here if I bring this down [Music] I'm not sure exactly oh we need to have a different shader and I think that's also something we need to set up here which which supports the opacity maybe someone knows exactly what I need to do but I think essentially it was setting this up we don't want to have a metal okay so let's show this is for painting right this thing this is what it is so and the first thing what we want to do is let's just create a base material we can't just use any kind of material which we need I like to just to work in in some kind of preset shaders which is always a helpful thing and then we will just apply a Crunchwrap so essentially what you want to do is I don't even show if this is assigned to this so we can first of all instantiate it across all the oldest sources so we want it on thing just one and two but we can just do all okay maybe out on this so what this is it just instances this layer to all the other ones so if I would now paint something here it's also on the other you Dems it should also be there at least the shader would be there as well I'm just for reading the chat quickly pbr3 alpha blending shader okay yeah that's what it was I just did you see it I think it was somewhere up here and the shader menu I had was here then there was someone in here which is the alpha blending one yeah okay then I think this should be it I hope okay all right so these are all the maps so let's see if I just apply a material let's just see what we get here okay so now this is aluminum shader and this is obviously not instantiated across all everything I just wanted to see if this works so now essentially what we want to do is we just want to have a we don't need a base color but I can just have it black pretty much like that and this should I'm not sure why this is not assigning it you see him yeah I'm pretty much working and looked at a lighting and this is what I've been doing all the time pretty much so I started as a generalist and now it's just yeah working as a looked up lighting audit professionally and then obviously always learning new things in and different packages like this here so I don't let's just started there I thought there was some kind of broken up materials already I am I'm just drawing a blank here I just need to I'm not sure I don't want to draw I just want to have this work why doesn't this main material doesn't why doesn't this apply so I'm just trying to assign the shaker and I'm sure why it's not why this is not applying this to this okay let's see that's a paint layer that's maybe why okay thank you I just wanted not a paint layer then I have fill layer that's what it was it's one of these guys okay oh I see okay let's just do a I'm not sure why this one here is a fill layer okay and now not want to instantiate thank you very much this was too bogging me okay so I want to copy it to all these sets here okay and now for the base color we want it to be black that's what we want and for the roughness we wanted to be very reflective and then let's see if this works now it does kind of work but it's obviously because it's double-sided it doesn't work properly I am NOT at Sinha side I am right now working at ILM in Vancouver Canada and my water is running out so I just need to refill my water quick and my oh sorry for that and my water bottle was my stand for my webcam because I don't have a capture card yet for my DSLR so I'm right now just working with this very rudimentary setup and now everything is messed up here right we good so now magically filled up okay so now this this is now a pretty basic setup here what we need to do so for the roughness we want to definitely have some kind of break up here right so we want to have some grunge's these are now texture based things but it's we can totally work with those so in these there's some I think we obviously we need to pick now and there was something like drips or something let's just see if we can just search for drips leaks we can try a leak sexually and just not sure why this there we go so this is already doing something and looking at the reference you can see there is there's lots of smugness going on it's not super apparent but it's not fully reflective so we just we can just use this now as a like basic maps to just add some detail right it's it's obviously it's what you want to do with this and I'm sure and looked at we in Maya when we go back I'll be working with this even more just to add more detail and I looked outside I should have a bigger yeah well it's yeah well it's 1 p.m. now so it's almost be a time and then in here you can add different things you can add more you can actually layer stuff here so we can add a thing it's a mask and you can break up that and that mask as well so we can add a I think it was here I had a black mask which is now in here and then we could add another fill layer in here how did would you that was a bad fill there add fill there we go so now this is my base map so actually what we want to do we want to get rid of it here and we just want to have a this was now in base color which is not right sorry for that remove mask and we want to do this in the roughness here and I'm not sure actually if this is same add a fill so we want the roughness to be super reflective like this this is my original map and then I want to add a fill and a black mask and in here I want to add a fill and I just want the mass to be alright without trying what I'm trying to do is have the mask only be working on the roughness slots but I think this is not the right way to do it I'm not sure why my base color now gets messed up here and you can also you cannot use the lead which is also a shame you cannot use the delete button to delete those layers which is great as well anyway so let's just try this again here let's try more leaks let's choose this map here which we had before you should use a beer yeah okay and then I wasn't under the expert and impression that you can just add different layers but I can just add a fill again and have this fill only be on the roughness which is like I think what I should have been doing yes this room will be uploaded I think I always upload them anyways so yes it will be uploaded at a white mask so now we have a mask okay we're getting closer getting closer and now we want to add a fill like that and now if I add a crunch me I've been here does that do it yeah I think this does it so in this fill layer I don't want any roughness so I just want the roughness from here all right and I think this is now the way I want to work with let's see if this Grunch does do it and now let's see if I balanced this yeah so now I'm actually working like I have my only my roughness fill layer here so let's just call this roughness map and this is only a sign to the roughness roughness slot there so the benefit of this is I can work independently I don't need to I don't have like an uber shader which affects all the layers and then in the masks here I can just add different kind of breakups here so I can just do I don't all these things just blend them in super slightly and just see how they go can I should just drop it in here you know I just need to add another fill I guess right click add fill it's also a bit weird you can also use generators and stuff which is interesting at another fill layer and we can multiply this or add it to the other one so if I use a multiply at these two maps at the bottom will be multiplied together so if it's wide it's the bottom one and then we can just I don't pick anything here and then just just break it up you can apply levels to them separately and I just want to do it it up it should not it doesn't need to be like really perfect I just want to add some kind of as if there's some smear or something on it so it's nothing too crazy and I think the roughness map is the most important one you need to work with yeah I tried the metals it does do it but it's because it's double-sided it doesn't work right and it needs so I think it needs to be single sided for the shader to work for the opacity so this is not a biggie alright so now we're working on this texture set and I think if we move to the other textures side like this this is now the inside I'm not sure I think I was able to just show the inside as well I need to do this there we go alright and and in here what I want to do is add these these droplets or whatever so I think there is there should be something in here which had some kind of like rain or something that was like a map I was sure I used that before let's just check here some kind of streaks we want to do like what is this for instance we can use this maybe or some more splashes and and then for the inside we just want to create another or just do a another fill layer like this and this would be just a normal one I hope I'm doing this right and we just wanted to be applicable to the normals and then I'm actually I'm sure if you can just pick a map now ooh how did I do that you can convert them somehow right you can have a texture convert that to normal maybe someone knows that can help me out with this quickly in the meantime in the meantime I'm just working on the roughness here so this needs to be was actually my mask now go on is it just on the texture side here okay oh because it's not instantiated so yeah I think I want that to be instantiate as well so let's just move this to the other ones as well so it should be on one or two as well so now we have it on both texture sets and we still have the fill layer which is just a base color that is perfect and now let's see if we can actually get this bump map to work I'm not sure how I did it and why it's not in the heights lot okay oh I see oh I see okay that makes sense and then we just do leak here and try if we can get this yeah okay so yeah that that was it and then we just convert the high to normal at some point okay so this is now the bump map and I think this is perfect for the inside so I will just remove this from from the main shader and I'll just create going through the hide we don't actually need to do that I think but in this I will go to my texture set and select my texture set from the inside oh this is at the other one we need to do this on this too I think and for this I want to create not the normal you can remove this where's the lead all this works so two instances and then I want to create a new fill layer here which is my height and this will be only on the height and then I will pick these leaks again I hope it was these know trying to pick I think these ones yeah so and this is now these droplets right so this should be or some kind of dirt or whatever it should be and we just want to reduce the intensity for this so we can just use the levels or whatever I think add levels to this and this should be height and then we just want to reduce it so it should just be like I don't know something really solid it shouldn't be really crazy it should just be some kind of leak texture it's just half here so you can see there's some kind something inside and this is pretty much all I had to do and we can do some maybe some procedural noises as well for the inside but essentially essentially this is what we need what is this I'm just reading the comments quick okay no it's all good all right so let's just go to the texture set lists and essentially this is what we need and then on the look there side I will just be creating a bit more breakup like I will be using a broad noise - add some surface breakups and whatnot so at least as this the very basic side of the substance thing and I think this one has we need to we need to also instantiate this other thing here feel later okay this is good this is good outside clean inside not so clean at the bottom I'm not sure we need to instantiate the roughness to this as well from one we need to instantiate this to this one as well so now the bottom has some kind of breakup as well and we can use these maps to create some kind of detail as well like if we need more we can just use that so I never saved it which is crazy so let's just save it fairly quick [Music] let's see why didn't there you know and then we just go here sorry it's a bit of a mess here alright save it there alright saved and then we just I think it's a in the file menu we just export this still saving and yeah also before I forget we are on this court if you want to join as it would be amazing if you want to join the discord server we are starting to grow above 1000 members already so yeah it's amazing so there's a link if you want to join export textures and we want all of those we just need to see what my setups are so how did that do that we're just actually want we just want the one map height everyone height a normal map so where did I do that yeah we went first to change the output path and I just picked the same out to path fairly quick let's see sorry this is a bit of admin stuff it's a bit tedious to always click through those menus and find the location where you want to save it but we are close all right so that's updated we want to export it as EXR files and I think in here I'm not sure why I cannot pick the ones I want which one is it picking here PBL metal from cash I'm not even sure what from cash means custom all right so I forgot how I do that now so we want to have the roughness from Roughness oh sorry now this is always like I do this and then I keep forgetting how to do that so I'm not sure if I do PBR metal ruff Mario five you'd understand we should actually do that so it does metal notice roughness normal Maps but then I want to configure that and I don't want I don't want emissive I don't want normal I don't want to rough this I don't want Matson this I don't want base color okay I think that's it I hope I'm not sure why it doesn't pick it what if i duplicate this and say Arnold five custom maybe this does it I don't know we'll see and then we pick it here yeah that did it okay say I'm expert and let's just do export next what successfully okay so now we can go back to Maya we want to save it and we want to move it here okay all right so that is the mall if you remember and we want to clear this and we want to do perspective here so we're finally back in Maya by the way took us some time the substance I need to be more confident or feel more comfortable and substance to actually do a tutorial you can see now how I'm struggling so I need to learn a lot more to get better at this yeah all right so what the first thing we do is we open up file browser go to our directory where we just exported those maps and we go to glass bottle and then we have them here high tide height roughness roughness roughness that's what we need and then what I want to do I want to do select those two maps drag them in here they are placed in the viewport I sorry in the node editor I want someone to sort them like that I'll delete the place to D control middle Mouse drag the place to D note on that white dot to have one place to denote in the roughness attributes which do not open why not kidding me why is this not showing what I need hmm attributes why is this not doing it automatically kidding me older load selected this is what it's supposed to do what the hell any ideas why is this not selecting my objects I don't want to do this all the time we have 160 viewers right now which is super impressive for me so thank you all guys for joining and welcome if you just joined the stream we are now already on the last part of this where I now bring back the textures generated in substance and we now will connect them do some look their work do some lighting work and then go from there but as you can see my arm my Maya does not show me that roots of that object unless I do select or load the attributes of this which is not what I want to do it must be some weird bug well I'm not seeing maybe there's some disabled books I know yeah I just started a new my version but it's not the hypershade it's also here or here it's not it's not selecting it all right come on load it up my girls let's do it okay this does it so that's just recent projects this guy open live session open don't save okay let's see ha okay I'm just clothing this yeah you know Maya's always a pain in the butt so I'm slowly learning Houdini which is great which is super flexible super powerful tool yeah all right so hey we can do this now amazing so what I wanted to do in here UV tiling should be udin based and it found three tiles perfect the same for this guy is udom based and we just want to make sure that these maps are not in a CCG because they are not they are in utility of raw at least this is what I hope they are and we just need to find it this one and the same for this and you need to set the color spaces before you do the TX conversions so I'm just saving let's just create a standard surface shader and we do the connections color let's just do a range because I know I will adjust it and we do an AI range here I'm feeling way more comfortable in and oiled which is great and then we do a a I bump and we do this with the red channel no no map and we connect this to the normal and we connect the color sorry the range red to the specular actually we won't well we will do it first and then I explain why I will not do that [Music] always disappearing I'm just reading the comments Rick okay so we don't have a camera yet we don't need a camera as well but what we need is lights so I will load in a light sky dome lights go to color click on that to a file select load my preset here which is just a light like a studio which is mostly my looked of environment it's like a very neutral hgi and what I want to do then is go to our know menu utilities TX manager it will find my udimm tiles here it will show that it is and utility or raw space and I just want to do create the x-files it will do the TX conversion to all the youtubes and you can see here it's actually creating them almost done oh the knife to cut connections yeah it's actually not documented I think but yeah as you see all shift all should have click and drag you get this life's a little cut line alright we know and want to see this we just want to make sure that we have two samples at least and we have to any 48 and then we just clear them oh I hate it hate it I didn't assign it you know we need to go back here where is that shader here huh there it is and now let's just assign this obviously we can work in a low poly mash but it's as I said it it's fine to do this normally you would assign like you would work in the low low version and just do subdivisions at render times but we don't have a crazy displacement so I'm just working with the high one alright so maps are connected hitting safe so let's just check the settings quick that's 235 is good when your settings to 1:1 super simple nothing crazy no depth I think 1 1 1 1 1 all right so let's see do we need a camera that's just quite a camera quickly let's do a create camera from you always forget this shortcut looking through that let's rename it to render or just call it main we want to do a focal length of 75 and we want to change my render settings to a higher version so we want height maybe 1200 we want to view this is that under it oh yeah lots of update issues alright so we want maybe the lights this is frond or maybe something like this alright so this would be my placement I'm just locking locking the camera and go back to render view and this is my perspective we don't want this on the perspective we can do the shader thing I think this is the material now it's still not si and I keep forgetting to assign the shader now it's assigned eyelid alt shift e clear history shaders here does this work it does work hey and what I like to do do not show my selection highlighting so even though it's selected it's not showing it alright so we have I think everything we need right for right at least for right now to hit the render button and I think all of you guys have been waiting for that 170 viewers I'm super excited it's a lot of guys watching me and I I think honestly I couldn't imagine myself sitting like at a seminar and presenting for 170 people it's crazy so super stoked about this feedback guys thank you very much let's go to main camera this is what we are working with you can see the roughness map is already doing something here we have super low settings right now we don't want render tiles and what I like about this is using actually we can keep this on and I like to use the progressive render which is gradually making your image nicer and then we can boost my camera a two-for and now you can see it is cleaning up slowly and this is right now on the cpu just because the OBS stream is running on the Nvidia card using envy link like a new compression thing or whatever and I don't want to break the stream so running on CPU alright so glass obviously what we want to do we don't want to have any base color and let's just actually disconnect these guys for now this is what it is oh yeah actually I forgot about that I have a super chat thank you so if you want to support me there you can actually I'm sure you can do some special emojis and do something crazy on the super chat and also thanks for reminding me as well if you below the stream as the join join button and you can actually become a member of my youtube team and you get special access on this court as well and you will get you have the option to get source files like I will upload this whole thing here for you guys you get the model you get mode ever textures I did right now and by joining that tier you will actually you will get all the resources you get the whole Maya scene file you get the substance scene file and you will also get all my previous tutorials as well so enough of the plug-in here come on transmission let's bring up the way to one and boom we get glass tutorial is done no I'm kidding so glass is actually not that simple it is it has its things like what I mean by that is typically people just do this and say oh I got a glass shader but glass like especially looking at this glass here which is an Ikea glass made in Russia you can see the color rate colorization here at the top it's it's a lot lighter and up towards the bottom it's a lot thicker and more saturated and dark and the reason is the glass has a thickness and because of that it gets more colorful I say and the top you can see is almost clear because of the thickness of the glass and you can see how dirty it is because I'm touching it all the time anyways so for just a quick thing let's say we want to create this kind of shader right so instead of just changing the color which we need to change we need to also change the depth so if I just change the color let's go to this blueish HSV let's just do maybe it's a bit greener maybe more blue than it may be it was actually pretty close do this right so let's just go back to blue yeah all right so let's say this is our base color so without any depth here right this is you can see it's a uniform color everywhere the problem is it's not so what we want to do is bring in the steps here and you can see now by doing that the the main glass here is almost clear but then at the top we get this thickness and you can do that by just adjusting this depth value here and based on how you modeled that if you modeled it very thick and some parts are very thin and some other parts you get this colorization right and that's what we want so I want to have some kind of depth here so let's just do a point one and if I load back the reference this glass here is actually not so colored there's some kind of I would say green very desaturated green like navy green maybe to it and let's just let's just actually remove this zoom in here how did I do that there we go normally you guys I use P or F for my references but yeah we have this now I'm just reading for patreon and a lot thank you very much yeah so the cut is alt shift click and drag all right so let's just do this kind of doing about without what I was talking about so I go to this green color it's more yellow greenish and it's super d saturated like that and then it's actually not that saturated we're just I'm just changing we can actually you can have a color here if you want and then you can play with the depth and use this as a color slider as well so you have lots of options to just dial it in and I'm just looking now at the thick part here because looking at the reference as well the top here is a bit darker than the bottom piece so I'm just using this now to download in just to get something in this ballpark and then what I want to do next is you can see there's this it feels almost like there's this black outline around this and what I I think I didn't want to do is just use a facing ratio to just adjust it a bit it's a bit hacky it's not the way I think it's physically correct but I want to do this anyways because I think it's cool so what I want to do then for this is use a what's it called surface it's on curvature it's facing ratio and I just want it for now just connected to the surface shader and this is the facing ratio shader and you can see it's actually creating what I didn't want it to be and you can see now it's similar here on the edges it's very dark and this this is just something I want to do for this as a little hack and you can see now if I rotate this you can because it's the wrong camera well anyways I don't want to rotate it but this is now an effect which I like and what I want to do now is I want to do a AI range in between like this come on never likes it because it's a float sorry and then we just want to connect this to this and now we have the same and now I can actually do some grading so I just wanted to be on the edges so this should be fully white and then we have this darker fall off towards the edges and what I wanted what I want to do with this now comes the heck apart I just want to multiply it with my transmission here and for that to do I can just pick the red channel any luminance value and picked a plug that into transmission like that and then if I bring back my shader this is what it looks like and even though as I said it's not honored like it's not physically accurate but it's a lot closer already I that's what I think so obviously it's too strong we just need to adjust it adjusted by doing this no doing the opposite sorry what does this look like yeah if I bring this up yeah it was correct so if I bring us to one then it's fully white yes yeah so this is now fully glass everywhere and I just want to softly very subtly bring in this fade here all right so this already I think looks a bit better you can see at the bottom it's supersaturated it's too much can you do bigger than my window I sure can I sure can do that do we need the text I don't think we care all right this is all I can do for you okay okay so how a glass looking like this so next thing I would say is let's just bring in this roughness map which we have here and the thing is before we actually do that if you change the roughness now here it will also change the refraction because this is how it's physically happening if you have a sandblasted or like a glassy glass it's the surface and it's also affecting the roughness like the refraction roughness but because we are in CG we have some flexibilities so what I want to do instead I don't want to use the roughness at all I want I don't want the specular at all I just want the pure refraction so this is only the array being bent that's all so that the trick now is to use the code instead if I bring in the code it's essentially doing replicating the same image but now if I change the roughness it's only affecting the surface the specular amount and it's not changing the crispness of my refraction so keep that in mind and I will be using this and I use this quite often because it's a nice it gives me a nice freedom to work with so let's just hook up the roughness to the code roughness instead alright so this if I view visualize this this is now currently the map and as you can see it looks like a wipe from a towel whatever but this is exactly what we want and I just need to color like to balance it out now right so smooth step on it's always like a clamping like a softer clamping curve and right now the white piece is here will be rougher than the black ones so what I'd like to do to dial in to dial it in I always actually disable transmission completely so I can it's a lot easier to just see what I what needs to be done and now let's just see what we get so if I reduce them and it should get more smudged up I'm just dialing those values so we get some overall roughness maybe it's not 100 percent reflective everywhere so it's it's very dirty pretty much and if we change to my perspective camera here you can see the effect and I think it's this is pretty much what we want right some kind of breakup not you're crazy and something really sell like this even this the white might be too strong already the white might be too strong so I just reduced the whites actually I can do this bring this back to one so there's a question do you know what clamp means and yeah I I do know what it means it's it's pretty much just cutting off the value there's actually a dedicated clamp node for this and what it means if I plug this in right now my let's say I have a base color of some kind of white value so I have like this let's say a value of 0.7 and if I have a clamp at one it means there will be the value will not go over one but it can be in the range from zero to one but it cannot be anything else that's what a clamp does so if I reduce the clamp now to what what did I pick here 0.7 if I go below point seven my colors will be clamped at point seven so right now this is exactly the same as on one or and point seven but if I change it to point six now the over point four to make it more apparent the value here at the bottom is now at point four and this is the maximum it can reach even if my input color is like mm it's clamping it at one point four right now and essentially that's what a clamp it disconnect connect the shader all right so we have this and we have the height so let's see what the bump map looks like if I plug this into my normal camera it's only it should only be on the inside I think I hope I did it right yeah so there's only here some bump and let's see if it does work oh yeah I'll shift alt shift shift alt yeah I keep saying that it's a I think the sixth or fifth time the question was asked today but yeah it's hard to see I think we need to bring back the refraction to actually see anything so let's just bring this back and let's render from the main camera and see if we can actually see anything I was hoping we could see those drips here maybe I was too hopeful no no we can see something it you can see it's something it's nothing insanely crazy but this is now the drips I created on the inside it's not on the outside only on the inside UV set and you can see it it kind of looks like there's some residual liquid in it and that's the idea and obviously is too much point oh five and what I want to do next worth that mask I can do like I can't color corrected right because in here if i zoom in here to the liquid you can see there is some kind of residue whatever right there's some kind of discolor ization and I just want to replicate that and what I want to do as well using the transmission because now it's right now it's fully transmissive I I wonder color correct that so there's a very good question if I don't need to take on this opaque switch which is found in the Arnold menu this opaque thing here and even though it's turned on Arnold knows oh it's a magical if you have a transmissive shader it will actually disable that but to be saved we can just do that as well so now it's off like really forced off alright so what I said I want to do an AI arranged like this we have hundred and eighty-nine viewers which is freaking amazing I'm super happy maybe we can hit 200 that would be crazy wouldn't it and now let's do the colorization so I'm just picking this input map and I will be connecting this you can do eyesight select I tend to do this nowadays just to hook it to the surface shader which is just pretty much connecting it to the output and if I go back to the ran perspective you can see this is now my met from the inside and what I want to do I want to reduce the input max to very low values so it's pretty much just picking the dots which I want to color correct right something like this hello Sweden must be very later ready right like 10 or something anyway so this is my mask and I want to use this like where's my transmission this is my transmission right which is my refraction amount and I want to use this like a like color correct and with this node let's just hook them up first this colour correct node is amazing because it has this little mask input and what that helps me to do is actually color correct objects only driven by that mask so if I change my way that my multiply down you can see now this is affecting everything but if I hook up my little mask here and I do the same nothing happens because the mask is actually black on the outside but if I look on the inside and I play with this multiplied you can see that now we have some droplets appearing and this is what I want to do right so if I go back to my camera and I connect the shader again we should see something obviously if if it's not strong enough we first need to connect it by the way let's see what this helps transmission there we go so now we have these droplets being a lot darker than the rest and again this might be too strong which I think it is but you get the idea right so I can just bring this up so it's not as much and then also the bump is too strong we can dial that down to maybe 0.02 0.01 just that we get some kind of little details may be 0.02 and yeah alright I don't know exactly the next working bump bump sorry for that the range is like a levels map in different packages or like a grade grade note and nuke for instance what the range is doing is you give it an input and you define what is an input like what is the input values right so you can say that if let's just create a range let's see if I can explain it nicely so the input man defines what is the minimum value which the renner accepts as a zero value so if I increase this what I'm telling the renderer that the value of my input if that is point two it should treat it as it's zero and the same for the input max if my input maxes on one and I have values in the image width which are one this is the output but if I still find the input Mak is point eight for instance I'm saying that whatever value in the input image is point eight should be treated as one that's these two things then we have output in output min and output max which is essentially just adding a like adding more subtracting the value from the output image so I can say actually let's try to visualize that I'm just trying to visualize that and then we can actually jump back into the tutorial or into this image because we still need to do the liquid right we didn't do that yet all right quickly going a bit off-topic but it should help right this is my input map and I want to say what I said before I want to say that a value let's pick this gray here which is a value of point one seven five I want this to be treated as zero so if I put point one seven five in here this value are treated as black so everything gets a lot darker but if I want to have this value which is point one five now if I want that to be white like it fully is one point one point zero value I can dial it down to I think one point five oh sorry - oh because it's already corrected then it then we do that right so if I have this on zero and this back to one and I want to have this value here point two nine nine as a one value I type in here point two nine nine and then this value we had is now fully at one and this is pretty much what the range is doing a smooth step on will clamp values so it will not go above that you can see this is what's happening it just climbs out of one and this is how you would isolate certain values right and let's say I'm just using this but now I want to use this input output mint so I want to say that even this is point O one I want my minimum output to point B point one and everything gets lifted then so my minimum values point one so I think this is explaining it my hope all right and let's just connect this back up and right now this is what we have for our class and we've got the inside bumps and it's get rid of this and now let's just stop the render and bring in the liquid and hit render I think the liquid is actually not subdivided yet it's not which is okay we can in render we should have the liquid now here and if I now do a Arnold subdivision cat Clark do three iterations on this we can now see it's um we can't get the liquid in here right so and this is the important thing because it needs to be a bit larger you get the correct refraction if it would be smaller let's just do a modify center pivot if I would scale it down you can see if even though if it's if it's fitting the mash you can see this would be the wrong refraction because it's exactly the same shape or a bit smaller it needs to be a bit bigger so we get the proper refractions going on I have not done skin shading with ASUS yet but yeah even now we are working in ASIS so it's the workflow is pretty much the same I think I'm using only Arnold nodes so you get the same nodes and any supported Arnold software as well so you can use a I facing ratio in Houdini whatever you want to do so liquid I will isolate that quick to inside a new shader we have it assigned and now if I change the colors you can see we got the liquid so this liquid here is very brownish dirty it has some noise on it so we do that as well let's bring the transmission up get glass and then we want to do it pick a color something more oh wow this looks great that's a great color pretty close and then we want to play around with the depth as well not too much point to five maybe oh that's so too little that's point eight maybe one is good and then we also want to work with the scatter so scatter is kind of like micro particles inside the liquid it's like as if it's cloudy or dirty or whatever and this is what we want to do here I think overall my color is just too too much so we can reduce the depth point two you can also colorize the scatter if we need to to be more yellow and this is just like now tweaking the values until we have something which we like we don't know we have roughness just bring the roughness down so it's a bit more reflective and then there is this ramp so what I want to do is create an AI ramp how rgba and if i hook this up sure we don't have I don't even sure if we have UV s for this doesn't matter much but we could we could just apply quick you v's if you don't have the UV so I can just quickly apply them let's just see what we get this is the ramp right now you Ram know the ramp yes we just need to we can actually do it maybe yeah I just stop the render quickly and just do a quick cylindrical movies I think that that should do it let's see yep that did it amazing oh my voice is leaving me I'm talking too much tutorials way too long already okay what I want to do with this is have it fade from the top to the bottom right as if there's some kind of residue displacing whatever and this is essentially the look I want to go for maybe yes smooth curve so 180 full viewers I think we need to share this video a bit more to get more views in here yeah so we can use this ramp now as a as a mask I always like to use that but then we need to invert this right so whatever is why it needs to be black and whatever is black needs to be white you know and then I just want to use another color correct I love color corrects super versatile and I want to plug this into the mask and this would be my color for the transmission boom and then let's hook it up all right obviously not working anymore or my input color needs to be this brown we picked this one yeah and then now we can just do the multiply and darken it now you can see we get this transition obviously we can adjust the ramp to make it softer sure why smooth didn't work is this not fully white yes let's just move this up a bit okay and then this is now at least the color we have and if it's it's it might be a bit too Brown to to scattery it's just do this that's better think it feels like a liquid now it's a maybe a bit too bright to not dark enough so what's happening in a chat no one's typing anymore it was a lot more action before so let me know what you think is that would you do the same workflow as I did now would you do it a bit differently what would you do and for getting this transition so I think maybe the inside is a bit too too smudged up III know what I forgot to do so before on the modeling stage I was saying that we would need to get some surface break up right now this you can see that the glass or at least my reflection here is very straight and there's no break up to this so I'm doing now is AI bump again same for okay yeah so you guys actually listening so 190 viewers we are almost at the 200 mark let's try if we can't actually hit that I have a Intel Alexei on something something I'm not sure exactly processor so I want to do an AI noise and what I want to do I want to stack bump nodes so this out value goes if I right-click and do show all attributes I want this out value to plug into normal and then my out value goes into the normal camera right there and then I want to connect the noise to the bump map if you would have used a Y position it would be I think on world scale yeah I would do it I think it would work too so this map should just modulate an overall breakup so it should be super subtle and very soft I think actually the default for this scene or for the scale works very fairly well and you can already see now there's something going on already if I push this a bit higher you can you should be seeing this a bit more apparently okay this is definitely too much but you can see what I'm trying to get at right at sets now we might it might be just too large sorry not large enough so right now scale 1 that's 2.5 like that so now it's a lot larger and you can see now how nicely it distorts I think actually let's go 0.8 yeah so this is what I was talking about obviously way too much but the idea is to distort the refraction so I can just reduce the bump height now even this still still too strong point to 4.0 to 5 I mean and I think this is a good way and then I think my roughness is a bit too strong let's see how that looks and then we can yeah let's see what this brings and then obviously in different environments this will look different the edges of the liquid maybe need some adjustment the edges of the liquid maybe you mean this I'm not sure exactly what you what you mean and then let's just try a different environment because it always helps to see it in different ones let's just save this one and go to my light so feel free to ask any more questions if you have because we are almost done so any last-minute questions or I can do another discord pin so let's do that as well so if you join now I have a very successful this court channel and we want to grow it even further so it would be amazing if you could join share it with the community we have challenges actually what I'm doing right now is for one of those challenges so yeah why don't you check it out be active in the community and I'm actually working or ready to get some sponsorships so for the next challenge is that we get actually some prizes so yeah I'm just picking the HEI off-screen quickly and which one did I pick this one alright so connect who so this is now actually a different environment and you can see now that my bump map is actually a bit too strong looking it in a looking at this in a different environment so the liquid works very well in my opinion but the bump is too much so let's just reduce this to even less 0.025 maybe 0.01 clean it up a bit and also the interior bump I think is still too strong that's better and then we can bring up the roughness because I reduced this quite a bit and we can overall maybe roughing it up right so let's just render this without progressive let's see progessive off so I'm reading the chat now let's just move this window here did you make this you're like so I think in a production I would actually bake Oh out old my procedural things into the textures because it's a lot faster to render if it's fully texture based but for the simple acid here I wouldn't do this render settings for liquids yeah render settings are always a bit tricky I always recommend that you do not use refraction roughness so what I mean by that is in the shader you should try to have the refraction roughness to zero because if it's not zero then you would need to bump this transmission samples up and this is always super expensive so that's one thing and then you should try to have as less as little as possible in the transmission depth I think six is the minimum you should use and the rest is depending on your scene if you have motion blur if you have to feel mop-up pace samples if you have like an interior I've seen you need to bump that was up as well so that is a bit tricky for sure glass is always expensive but yeah the tips I just mentioned should be helpful do you make sure if you would put a light on the inside is the question we can try it by creating a lights not a mesh light let's go to lights and we want to have an area lights and the area light can be a that is sphere here as well quad cylinder well let's just use a saloon and then let's do which save this image and do a progressive so now we have a light source on the inside if I hide my main light this is no the light inside it so you can see how this scatter is actually affecting it it's like it looks actually pretty well I can just maybe reduce the exposure of the main light so this would be a light source inside that was a question just now in a chat in my professional work do I use only Arnold I actually professionally just work with random and Kitana random and most of the time sometimes Qatar render man and Maya but typically it's just random and that's why my tutorials are all about Arnold because it's I need to do something different right I hope you understand that yeah I'm working on more challenges I hoping the community will grow a little further so we can push it even more that would be great controlling the IOR through a procedural typically I would say only if you blend different shaders like if you have a dust shader on top or rust or whatever then you it makes sense to change io RS but changing because the IR does not change because the property of the object doesn't change it's just a thickness which changes which changes the look of it so I wouldn't say I wouldn't do that yes the stream will be going on to just one second sorry I had a little emergency okay so what about the question yes the channel or the stream will go into my channel right after this upload it's a super long stream two hours already we have 184 viewers aren't three likes amazing if you like it like it please leave me a thumbs up I'm just reading through the last comments I do use a data sampling for production renders so typically if I do that I enable it here and it just actually go back to where we were this goes back to zero so adapter settings is pretty much this is a pretty good default and what it means is it will pick minimum of four and a maximum of 20 and then based off on the noise levels the threshold controls how many samples the image will get let's show the buckets yeah can you explain what our broadcast new style is I'm not sure what you mean by that I don't really want to do Renderman katana tutorials just because I work with that all day and it's it's just I need to do something else I hope you understand that pew pew i do shot lighting yeah i that's my main thing I do shot lighting pretty much every day and then sometimes looked at lots of render man guys here on my stream i like that so yeah i mind to render man but maybe a Houdini render man because they have the Solaris connection which is amazing I played with that I didn't do any tutorials yet on that mm-hmm that's a good question what is the most important aspects in oil that you feel should be in render man I think the simplicity is one of the main things which render man is not oil has pretty much if you really boil it down it has one setting one one slider to control the look which is the a samples and you use obviously set up the few spec ones and then you just slide the menu you could render man has tons and I'm not kidding it has tons of parameters object based parameters render based parameters you can do really really crazy things with that and I think some options are still there because of legacy reasons and whatnot but essentially I would say this is something Rhino man could look at simplifying it okay [Music] yeah I think that pretty much sums it up like I checked all the messages and yeah concurrent views are going down people as going off so I hope you enjoyed this kind of livestream it was a very long one we did a lick model this and everything from the beginning we went to substance painter or tech like really did some basic maps there because I still need to get a bit better on that or more comfortable I'd say and then we went back to Arnold Maya and we did some shading some look to have overrides textural rights some procedural so yeah let me know if this is something you want to see more and please don't forget to like my video as this helps me get a bit better reputation on YouTube so my videos are found easier by you guys so yeah I'm happy that so many joined it was definitely a record like I never had so many people listening to me which is insane and yep I want to thank everyone for joining and enjoy your Easter weekend and obviously stay safe out there it's it's crazy times I will not do the cork you know cool cool thanks for the feedback I'm just reading through the comments popping it it's amazing thank you guys yeah it really means a lot and I will just keep doing that as you guys seem to like what I do yeah thank you guys again and I will see you in the next tutorial thank you guys have a great weekend

Channel: Arvid Schneider

Views: 19,886

Keywords: live, session, arnold, maya, autodesk, louise, rendering, shading, xgen, hair, groom, displacement, lighting, sss, arvid schneider, ocio, aces, arvid, aces workflow

Id: aZYpTe7mS5E

Length: 133min 20sec (8000 seconds)

Published: Fri Apr 10 2020