Wet Orange Shader in Maya using Arnold Standard Surface

so in this video we're going to look at a way to make a shader like this sort of like an orange peel but it's got more applications than this um we can alter this to make it look more just like a glossy kind of wet surface if i change some of these settings here and take a look we can see that that fine specular that was broken up is sort of just warped into this more liquidy specular on top as if it's coated in something so you can take this simple setup and adapt it to different scenarios and i'll show you how to build this i'll just go back to the normal setup i have here and let me just walk you through what my scene looks like so you can see obviously i have a big hdr image in the background from hdr i haven this is the hospital scene i have a single um area light its spread is set to 0.2 and that is to have more light fall off so it treats it a little bit more like a a spotlight because the intensity of light spreads from the middle out and so your exposure becomes more intensified in this smaller area on the area light everything is turned on in these lights in terms of the light types they're casting so even the the background like the sky dome light is has got sss on which i sometimes turn off if it's too taxing on the render a background plane here which is in reference mode right now my little object a little stand and there's my render camera okay so let's take a look at the shader here so we're starting with just an ai standard surface and i'll rebuild this from scratch in a sec so you can just see what's going on so we just start with a basic ai standard surface and then we have a bump node here that is carrying an ai noise into the bump of this shader so if i just turn off my coat value for a second so we can just see the bumpiness so you can see it's just got a slight bump on the surface and that is coming from this bump node and this ai noise you'll also notice they have this ai user data here user data float node attached here and this is just taking a value into scale x y and z of the noise that's how you change the sort of granularity or or size of the noise and instead of just changing the value three times i can just type a value in here and get a different amount so you can see the bump scale changes so the other thing that's going on here that is what allows us to have that broken up specular let me turn the coat back on so this is in the coat attribute of the shader so what we have here is similarly another ai noise and this could be anything this could be an ai cell noise or any other type of noise that you have here i've got that this setup as well where i've got this ai user data float connected to the scale so i can change the value here easily and then i have the out color of the noise going into the input of an ai range node and the ar range node just allows me to change the contrast of the noise easily so if i just isolate selected you can see what the ai range noise is doing sorry ai range is doing to the noise so this is the noise as it is but then when it goes through the ai range i just use that to increase the contrast a little bit this is going into a bump node and then this is going into the coat normal okay let's turn off isolate select so let's try to rebuild this from scratch so you can see what's going on i'll keep this one here in case i forget what i'm doing and i'll just turn this off so we just have to start with an a standard surface of course and i'll just call this demo orange and i'll just drag this onto my ball and let's render so we just start with our standard material as we would expect so we can make some adjustments here i can change it to an orange color oh there we go something like that or maybe something like that is a little bit better so i'm going to use a combination of specular and coat so right now we have specular turned on and we control the specularity with the roughness so the rougher it is the more diffuse the specular is and then the ior the higher it is the more kind of reflective and metallic like it is so i'm going to keep this at the standard of around 1.5 and i'll adjust the roughness here and i can adjust the color here too if i want it to have sort of a bloomy sort of effect if i maybe want to make this a little yellower or something like that for now i'll just keep it at white in this one i gave it sort of a pinky tinge and then the roughness was at about 0.25 and everything else stayed the same so let's just try and do the same thing here and 0.25 okay so there's no transmission i am using subsurface but we'll add that after and i am using a little bit of sheen too so but let's first add our bump okay so we'll just create an ai noise and i'll create an ai user data float and i'll create an ai bump 2d so the there is a built-in maya bump node and an ai node there are some the controls are essentially the same um on the ai bump node except it starts at a more reasonable small value so to connect this up we just take the out color red of the bump of the noise into the bump map value here and the reason we use red is because bump map can only accept a single channel value it can't accept rgb because it's just black to white and then we will take the entire out value and go into the normal camera okay so we're not really seeing anything because the ai noise is so big right now and to make it a finer noise we increase the scale so if i went to 10 10 10 then we can start to see the noise appearing a little more and if i go 20 tab 20 times 20 i can see smaller and smaller so you can see that i need to type the xyz scale in here so what i'm going to do instead is use this ai user data value data float to connect to all three aspects of scale i learned this from an arvid schneider video and this is really handy so i'm just going to connect the out value here to all three of these and now we're at zero because there's no value in here but if i put this to 30 now then it just feeds that into scale x y and z i'm just going to save my scene okay so now we can alter the bump by changing the bump height here so if i go to one which is the standard for the the built-in maya bump and you can see how terrible it looks so we'll just keep it at that low value 0.1 but we could go to 0.05 and you know depending on how bumpy you want it to look and then of course we can change any values here in the noise if we want to increase the number of octaves to make a more complex noise we can do that and we can increase the distortion whatever so this is all procedural and so you can see already that kind of loose specular is giving this that kind of waxy look of the of the orange surface but what we're going to add here is another noise and i suppose i could actually just select all these three things and duplicate them and then reconnect them so the same thing with this noise i'm just going to take the out value of this user data float connect it here and this one i'll just put this to i'm going to change the bump value to something lower and then have a higher value for this so let's just name this so we know what's going on so this is this is coat noise this is coat noise scale and let's leave the name of this one as is so i'll take the out color red into the bump map here and then the out value and what we want to connect the out value of this one to is this coat normal down here so let's just first take a look at what code is doing for us if i turn this up it's like an extra layer of specular right so it sits on top of the of the um the bump and everything below so it's it's good for making something look like it's got a clear coat on it and we have the same controls that we have for specular we can increase the roughness to spread it out we can increase the ior to make it more intense so much so that it becomes metallic if we go too high with this i'm just going to go back to the 1.5 now and then we can change the anise and isotropy and the rotation of that if you wanted to have some directionality to this but i'll just leave that alone and what normal does is it kind of breaks up the um the coat so it's just like a bump map it's changing the direction of the normals locally so it breaks up the code and when you want to make a surface look different in terms of what the specularity means of how waxy it is how dry it is how wet it might feel it's that kind of breaking up the the coat or the specular that really helps and this coat normal does this very well but you need to use an ai bump uh to connect to that or something that has a built-in normal control there is another and there's another thing i learned from arbor schneider but there's a flakes ai flakes that can also be hooked up directly into anything with normal in the name because that can that can be used to control that sort of thing but we're just going to use an ai bump with a noise piped into it so i'll just middle most drag this bump onto the word normal here and it will ask me to connect this and so i'll connect the out value to the codenormal here and here we can see it's already working so if i just reduce this bump value to zero i'll just turn it off now we just get nothing there let me turn off the specular so we can compare so i'll turn specular to zero so this is just our coat now but with this going into this bump going into our coat normal we can break up that specular so 0.2 is quite high point 0.05 0.02 right we're getting something more along the lines of what we want if we isolate select we can see what the code noise is here and it's not going to show us what the this bump height is doing and so if i go back to the value i started with 0.01 and we can get something like this so that's one way to control that we can also go in and change the code noise here we can change the size of it so that's at 30. if we go back down to half that so we can see we've got a bigger noise that's breaking this up for us all right so something like that i'll just change this back to 30. and we can also put a range node in here if we want to control this a little bit more so if we make an ai range and we take the out color from the noise into the input of the range and take the out color r put it into the bump height so now it's just traveling through there but we can change the output max and let's just isolate select so we can see what we're doing here so if we start to increase this you can see we're just making it more contrasty if we turn this off then we're really breaking up the specular so we can just work with this however we want this is almost back to normal but it just gives a little bit more control you can turn up the contrast here too that does something similar so we can play around with these different settings to get the kind of look we want and that is taking out too much of the the coat for me so i'm just going to reduce this down until we get something like this my bump is a little bit too high for me so we can go into the coat and sorry into the shader and adjust the coat as well so if we increase the ior we can make that brighter and more kind of glossy feeling and we can also adjust the roughness to make it fall off with no roughness it's a very slick kind of feeling and so it's this balance between the ior and the roughness that will help you make it look wetter or waxier or shinier so when i first was trying this i was putting noise into the weight into the color to try and break this up but it doesn't work nearly as well as putting a bump with a noise into the coat normal so finally we can tweak this to have a couple of other things subsurface and sheen so sheen i can just use a little bit of so what sheen does is it uses if you have specular light being cast at this thing then you can have this sort of glancing angle specularity i'm going to make this a little bit yellow and then the roughness here will determine how far towards the camera view it will come so i'm going to reduce this so it's a little tighter to the edge and then just turn down the overall weight so it's just going to be just a little bit of extra color around the edge and then this is looking a little bit plasticky still so we could save the file we could add some subsurface scattering but now my samples are very low for this so it'll be a little bit noisy but if i turn this all the way up so we're just getting subsurface scattering going all the way through and we can change this color to be something more appropriate so a similar orange maybe a little bit warmer and now it looks like a candy like a lollipop or something so i can reduce the scale it's a little more reasonable and we're not going to use a full subscript subsurface scatter weight it makes it look a little too waxy this would look more like the inside of the orange where light can travel through a little bit more so this will depend on the size of your scene and so on and then the radius here this is how far how sharp the shadows will be really so if some part is in shadow how much light can travel into that shadow from other areas so again another trick i learned from arvid schneider is to now i'm not sure how well this will work here because i've got light coming from all directions but if i put an object over top of this that's casting a shadow we can get a feeling for the what the radius is going to be doing so we can see the shadow now being cast on this and if i increase the radius oh sorry that's the scale if i decrease the radius we should start to see a sharper shadow because less light that can actually strike the surface can go far enough to get into this shadow so a lower radius will have sharper edged core and cast shadows on the object but another thing you can do with radius is click on the color and if we change this to rgb 0 to 1 we can have different aspects of the color travel a different distance through so i can go to 0.8 for red and now red can travel further into this shadow area and then we want this to add up to one in total so now what's happening here is that red can travel further than green or blue but for something like this maybe since i'm trying to make a fruit maybe i want to hint that there's a little more green traveling through so 0.2 red 0.6 green and then 0.2 blue so something like that and then once you have those relative values put in there you can just dial down this if it's it's too broad and then overall i would just turn down the subsurface scattering that to me that's a little bit dark inside so i look at what i was rendering before it was more like this i'm just going to get rid of this ball oh that's a little better so that's what i had before and that's what i have now so i'm going to tighten up that um this ai range a little bit break up my specular coat tad and then i think my coat is maybe just a little too bright so i can go into the code and reduce the ior to 1.5 maybe that's a little low i could reduce my roughness so it's a combination of those two things to get the look that we want just going to spread out my sheen a little bit and then maybe turn up my subsurface scattering a bit and then i'd still have my specular i can turn that on and that just kind of gives a a rougher specular underneath that does react to the bump that's on the surface so here i just have fairly rough fairly standard ior just this sort of pink kind of color just to add a little bit to that and so now um if i wanted to make this look a little more kind of glossy rather than like the surface of an orange i could go in and change my coat noise value to something lower and now it looks sort of more like it's got a wet surface or something a shellacked kind of surface on top which kind of looks interesting too so there you go um i hope this is useful to you it's a pretty simple setup with some quality of in life of life enhancements to make editing a little bit easier so go and try and make it and see if it works for you thanks

Channel: 3D Splanchnic

Views: 5,924

Keywords: maya, shader, arnold, render, realistic, wet, orange, peel, scientific, lighting, rendering, autodesk

Id: eygZB66Nq68

Length: 23min 31sec (1411 seconds)

Published: Fri Feb 26 2021