Redshift 2 Maya - Tutorial #7 - Iridescence - Samplerinfo and rsFresnel Nodes

hey guys this tutorial is going to cover iridescent materials in redshift and how to make them so we actually can use your dis and materials for thin film effects holographic type of looking effects bubbles pearlescent car materials and actually let's change the color space to something a little different so I like ASIS so the colors a little a little nicer or actually now let's go filmic filmic medium and so yeah now that we've got a decent color space going I'll be explaining basically the process of making this and there's a couple nodes you can use to get around to making it in a different apps you don't have access to one of these nodes so I'll explain the other method I'm sure there's the similar nodes but in Maya the nodes a little different so alright so let's get started and so let's start an IPR and we're going to just start from scratch so we're going to just make a new shader for all this stuff and we'll use a car shader for the metal first and a bubble will make a different material so let's start with just a red shift material and wool was the hypershade upfront for now so we'll call this wipe that clean graph the new material and we'll give this a name of I don't know car paint eery for iridescent and so first step is we're going to want to make this actually no this is in a car pink wool by mistake we're going to use a car paint shade or not you could do the same thing though with the richest material but that's this is simplified we'll actually just use this and call this the car paint and so right now we've got it just doing the crop this out so right now it's just a basic orange material nothing nothing really exciting going on and let's actually tweak the car paint shader a little bit so you could change the input color to whatever you want right now it's on orange let's do something different Tribeca purple kind of cool and the weight controls the weight obviously of the car paint shader so off is off we'll keep it at 0.5 or Shrek point 75 and your edge fall-off this is basically kind of like the for now so if we turn this on you get the fernell effect going on and so if you change the curve factor up or down see it adjusts the off is going down it's actually adding it everywhere and going forward getting rid of it so it's only really subtle on the edges and let's just have a really small amount and you can do some really cool things with this too you could actually pipe in a ramp or I'm gonna get creative and you can get some some neat effects on the omelet color fall-off so let's just go all the way and just so it's a really subtle effect on the edges and the base layer specular so this lets you tweak the specular how strong you want and actually we'll just we're going to just turn this off so that way we don't have it getting in the way right now and so you can change your brdf to ggx or something else will use ggx just cuz it's nicer for metals and you can adjust the glossiness the weight so weight obviously specular going to be stronger we'll keep this stock this is all fine stock facing reflectivity of the for now effect you know we'll just leave all this stock this is fine then you have metal flakes so this lets you adjust the flake that you would see underneath the paint the flakes we had the density the size of color stuff like that and so we'll actually let's zoom in to our object a little bit so you can get a little nicer view and so we'll actually [Music] maybe increase the scale and the scales relative to your scene and your object so this was fine out to get pretty big so you starting to see them a little bit in this try three yeah so that now you can start seeing there's these little like dots and let's make these pretty glossy so they're nice and sharp and will include increase the facing reflectivity so zoom out a little perpendicular they increase the density yeah we're starting to get them up here you can start seeing them and variations fine I guess let's decrease the scale a little too big yes and then we've got some smaller ones here in there increase the density a little more and so let's rotate around yeah that's looking make the IPR a little bigger and yeah we got we got them going on right here in these areas so cool let's uh tweak the curve factor okay distance no that's fine variations fine okay yeah this is good enough we've got a you know a little bit of flakes going on it's a cool purple shiny purple type of color and let's actually hide all these little just group them and hide them for now and let's start working on this so get back in there and so that we that we've got our base material that we're going to want to add the iridescent stamp it's good to go the third s in effect is going to be basically happening in the clear coat because it's a thin film basically and that's what clear coat is it's a thin layering the top of the object and so here is where you're going to pipe it in you're not going to pipe it into the color because you still want the thin film that reflect white so you're actually open up advanced and oh no yeah inside the color it's actually yeah that's where it goes I'm thinking of the RS material that has a the Advanced section and basically now that we've got this you turn on the weight a little higher and you'll you'll see how it affects it see so now we're getting a thin film it's a little more reflective everywhere and so now you're wondering okay how do I you know make this iridescent so let's move just this to the side for now and open up our hypershade and so to get this effect going we need to either create a ramp a new ramp or I already have one built so I'll just drag it in and I'll make another one just so we can go through it but this ramp basically has some colors I already added so depending on the colors you want for the iridescent you'll you know you could customize this dear to your liking and the node that's important here is the the sampler info node so you just type in you know tab sampler info and with this node there is the spacing ratio output and how this works is basically relative to where the camera is located it adjusts the ramp that you're going to be feeding and so that's how weird essence works it's a thin film that changes due to the refraction of the light and so that it's relative to your viewing angle and so this is a way to simulate this now you could also do this and this is how I would do this is a Maya only node so in other apps you could actually do this with fernell node so the redshift for now and this is in all the other apps I'm sure the other apps have something similar to this so we'll do it both ways and I'll just leave this node over here for now and so I prefer the look of this one technically this is the proper more realistic way but I think this one gives you a little more control it just looks a little nicer and so now that we've got that going the be a sampler info node all Retro for now and a ramp this I'll swap it in place of this later so you can see the differences and basically what you want to do is you click on this white dot you'll get the facing ratio and you're going to feed it into the V since this is a ramp the it's a V ramp we're going to feed the information of the camera viewing angle into V and so basically now repenting on the way your camera spacing ratio is relative to the object it's going to feed info into the V ramp and move around the ramp color gradient and so then to get this information now into our clearcoat you need to actually make a different node to convert this ramp into something that the clearcoat can use and you could that you could tweak so a remap HSB you don't have to make this but I mean I think I think it's a good idea just because this gives you a little more control of the saturation value and if you want to shift the hue anywhere so we're going to feed this into the color and then this output is then going to go into your clear coat color so so we plug that in you'll notice that we're getting now this this color shifting going on on the edges and so what's going on is basically the clear coat now is being the color is being fed information by the viewing angle and by this ramp that we made earlier and so again you could tweak this ramp to be something else so I'll make another one a little bit but and then you have this three map that you could then tweak the values so if you want to increase the saturation or decrease it or whatever and now that we've got that going let's turn this into ggx just because ggx is nicer and then you have glossiness and then you have the fern L facing reflectivity and so if you increase this basically you're going to get a stronger effect as you're facing directly into it and then perpendicular is the strength on the edges so if I if I turn this off now it's not as strong on the outside and so if you slide this up more you know you're going to get full-blown crazy the ramps going to be just taking over the material underneath and so let's keep this a little subtle this is pretty cool free on stripe 0.4 0.35 yes this is pretty neat right here and so if we rotate around the colors are going to shift positions basically depending on our viewing angle and the color pattern that we're getting is relative to our ramp so here's the blue line we got the purple and then the green on the edges is on the edges on both sides so if I change this green to like orange for example it's now it's no longer green right there and stuff and so again like I said you could tweak this ramp to be whatever color you want and so you know you can pull up some reference of some bubbles or oil or Beetle Bug shale or whatever it has iridescent and match specifically the colors that you need you know the the arid essence doesn't have to be a full-on rainbow it could be only a couple colors that are doing all that here that's an effect and so now that we've got this going we can tweak the shader a little more so if we want I don't know a little a little more roughness or something like that let's uh or if you want the whole material to be super glossy yes now it's like a really perfectly sharp material but we don't want that that sharp let's go point three and the clear coat you can adjust this also so if I if I drop this down you see now it's more of a diffuse rough iridescent effect and you know we we don't want that either so we're going to bring this up to I don't know maybe point eight point nine point nine five yes that's that's cool and then you could also just like I said the what facing reflectivity so if we drop this down three point two no yeah point three was pretty good three five and you adjust the curve factor and this is this is something that's really subtle but you see you know it influences the curve how steep I'm assuming the the change from facing to perpendicular so if it's all the way over here it's like super strong it's all the way over here it's a little more subtle and we'll just keep it at no no stripe one two a to school and so there we go now we've got our iridescent funky metallic material you know and again if you want to just this so it's not as strong you could drop the weight on it a little bit same so if we turn it all the way off it's you know we're back down to our original car shader material and so let's actually change the glossiness I actually want the the base to be pretty glossy let's go is like a point 0.9 and let's increase this a little bit now and so if you want to be a more of a subtle thing you could just adjust a clear coat wait to be a little subtle will go with 0.8 now it's a little strong like six yes point six point six of school so there we go now we got our iridescent car material and you can always change the color so if we want to go with a bright green or something might be a little too strong you know there we go or if you want to go with some other color a blue appeal so let's let you just you know to customize it so however however you want to do it really I mean infinite options and potential but let's take it was purple I like I like how this looks and so now we're going to use this exact same ramp that we made with this so this same ramp and this same sampler info and the same remap oh and speaking of the remap just so you can see kind of what you could do with it let's uh adjust this so if I drop the saturation you see it desaturates the the effect the colors that are being fed by the ramp and so of course you could you could do that with the values you know just different things you can do with it drop this down so yeah there's plenty of things you can do with it and this just is an extra added layer of control and so we're going to reuse all this this so we have all this right here and we're going to actually make the bubble shader with it and so let's turn on our bubbles again and we're going to assign a red shift material this time instead of the car paint material and so now we've got these just plain old red shift gray material going on and we want to make these transparent and also iridescent so a quick way to get just transparent right out of the gate is just use like the glass shader water or some water is pretty good for this and so now we've already got you know clear transparent materials and so bubbles aren't solid right now this isn't like if this was a solid mass of water and so we actually want to turn on thin-walled and that will effect the look and so now it's like it's a fan the object rather than being a solid bubble full of water or a solid piece of glass now it's just the outside and so right now you know we're getting a little bit of reflection from down here but this is an actual year in essence that's just the reflection and so to turn on air Decimus for this object now we're going to go all the way to the bottom and the same thing we did with the car paint shader undercoating we have a couple options and so we're going to first just turn on the weight onto the coating just so we can get some strong nice white highlights going on where you use ggx and you could increase or decrease the roughness but we don't want roughness we want these nice highlights going on and so here we have the Advanced section the car paint shader that didn't have this section and actually this is the one I was looking for earlier but i mistaked it for the RS material and so in the transmittance is where we're going to feed our ramp information so we're going to go grab this and we're going to pipe this out into transmittance and now that the the ramp is fed into the transmittance have you know the the iridescent now working on the bubbles and so it's a little saturated I'm going to drop the saturation just a tad so let's drag this down something like that maybe a little lower and to influence see right now it's affecting everything a little too much and so to change the how it's working is you adjust the thickness and so if we change this to point zero five it's not affecting the entire object so if we go up the other way you know if we go to - yeah see it's it's totally overpowering this so let's go at the point zero eight maybe point zero four yeah point zero four school just fine let's uh bring up the saturation just a tad and yeah there we go so now we've got our bubbles and our car paint shader and if we rotate around the scene you know that it's influenced by the viewing angle well and yeah so what's a one-to-one is let's zoom in and let's do a an actual render so let's pause this do a real render blow this up a little and yeah it's looking pretty good so now our little bubbles have you know a little bit of iridescent going on and so the this is one way of doing it so this is using the sampler info nib and now that we did it this way like I said this is a Maya only node so another way of approaching this in another app is to use the fernell node so the redshift Fornell node and now that we've got this saved out so we could swap to this image the fernell node we're going to instead of using the facing ratio information we're going to use the fernell node to control the way the ramp is working being applied on the material so let's uh take this out and feed that into here and so let's load up IPR and so already um let's actually yeah that should should be just fine so now that we have this going on the fernell node can be used to do a lot of other neat effects so like silk stuff like that but for now we're just going to focus on iridescent using for known that you have the Finnell node selected there is the use index of refraction settings the facing color via perpendicular color stuff like that and so one way of using this is to actually have it piped in to these slots so actually I did this wrong it's um take this out you're going to feed this the output into the facing color and so now we're going to put the out output back into the same slot so for the B to the car paint first we'll slot that in and basically what's going on is the index refraction is working on everything and so we don't want to use an actual IO our number I mean you can you know you can just adjust this and it'll do its own thing but for our purposes and let's actually turn off perpendicular color for now we're going to turn off the index of refraction and use a curve fall-off and so as you adjust this it lets you adjust the fall-off um on the object so let's try three and let's actually use the perpendicular color also same thing and so now that we're feeding our ramp and that's remapped into our fernell perpendicular and facing color and you could use a different ramp if you want on the perpendicular or facing you know that it has the options of doing one or the other and let's actually increase our saturation again that's a little little too much drop that down a tad that's cool right there and so with this we can adjust how it's how the fall-off is working and like I said you could use IOR but you know my purpose is I'm not going to bother with it so let's try point so three five eight point one oh let's see let's get rid of facing see what we get turn that off and rotate around crop it all so that loads up a little faster and so I see you're getting the same effect basically as you rotate around your influence changes depending on your viewing angle and so try to whoa that's too much yeah point one looks pretty good okay we'll stick the point one and so now same thing you know for the bubbles will feed it into there and so put the color into the coat transmittance and the refraction transmittance and again our bubbles are now using the new the new settings so saturated a little bit more little to be saturated yeah it's pretty cool and let's drop the curl to fall off just a little bit point two point five point five smash so let's uh get our angle similar and so that's the difference basically the Fernau effect works differently than the sampler in fro node and so the effect won't be the same but like I said I prefer the sampler info I think it looks better so let's do a final render and but technically the fernell node is more physically accurate I guess compared to the sampler info and this node is in all the apps so if you don't have something similar to this in I don't know cinema or whatever you're using then this is always an option and so and it gets the effect across and so here we go again we've got our iridescent going on and you know like I said I personally prefer this here does since it's a little little stronger little shiny or more saturated but maybe you know I'm sure if I adjust the the colored stuff like that or you know tweak things a little bit so let's see if I bring this up try an IPR save that out I mean I'm sure there's a way to get it looking good and so yeah there we go we increase the facing color strength I'd be a little too much well let's see it compared to the uh yeah just something like this so this brings that white back into it and so let's do a final render and one to one of the images and check out our results so this is basically the two notes you can do it and you could you could use the curvature note even instead of the fernell node you know who get some really weird funky effects where the iridescent is only happening on you know convex or concave surfaces like I explained in the curvature node tutorial and so again let's check this out this is using the fernell node let's get rid of this one and this is using the sampler info so technically the fernell node is more act physically accurate because it's working with the actual Fornell values sampler info is more just a camera direct but you know it gives you it has a different look I prefer the look of this one even though it's not technically accurate and again the setup is really simple you know we just make a ramp remap value and feed it into it for now or you put the sampler info into the ramp first if you're using the sampler info and then you feed it out to your car paint clear coat color or your registry all clear coat transmission or transmittance and you know tweak it that's about it that covers the iridescent

Channel: Saul Espinosa

Views: 33,144

Rating: 4.9411764 out of 5

Keywords: cgi, 3d, vfx, redshift render, redshift, render, maya, tutorial, autodesk, digital art, digital, learning, cg

Id: GOliExeAbXk

Length: 34min 49sec (2089 seconds)

Published: Sat Mar 04 2017