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Editing surfaces

From: MODO 501 Essential Training

Video: Editing surfaces

Editing surfaces in modo is really easy to do when it comes to the Shader Tree. This layer-based system really can help you work through all different surfaces. So, early in the course, we built this fire extinguisher, and this is in Chapter 05. I have loaded it up. It's called the FireExtinguisher. And what I am going to do is jump to the Render tab, and the reason I am going to do that is this gives me a nice clear view of what my final render will be in this Preview window. And it's rendering from the Camera view, so whatever this camera view sees is what this final render will be.

Editing surfaces

Editing surfaces in modo is really easy to do when it comes to the Shader Tree. This layer-based system really can help you work through all different surfaces. So, early in the course, we built this fire extinguisher, and this is in Chapter 05. I have loaded it up. It's called the FireExtinguisher. And what I am going to do is jump to the Render tab, and the reason I am going to do that is this gives me a nice clear view of what my final render will be in this Preview window. And it's rendering from the Camera view, so whatever this camera view sees is what this final render will be.

This will give me a really clear indication of any of the file surfaces. As this was built, we had created the material groups. So in the Shader Tree, when we open that up, here are the material groups that we're building along with the model itself. So now I don't have to go back, like I did with the apple in the previous video, and create all of these surfaces. I was building them with the model as I went. So, that being said, what I am going to do is just move this around here so you can see the top of it. I am going to keep an eye on this view here, and what we want to do is actually edit some of these surfaces.

For the fire extinguisher itself, we just put red on, clearly, and we just put simple gray on the other aspects, just so we can see if there's a change. So now we need to put some materials on. So let's go to the HoseClamp, since it's right at the top, and that is that little area right there. I am going to select the Material, and then go to the Material Reference tab. That's this one right here. And what we want to do with this is just select a very simple gray. So all I do is click on the Color palette. The panel pops up, and when I move my mouse, it goes away.

So we have a very simple gray, and what I am going to do is just come in and just zoom right into that, so you can see it. So here is the model we created, the Hose. And if you remember, we had taken just those polygons from that hose and extruded and beveled them, so that's actually not a separate piece; it's just part of the hose with a separate surface. Then we want the Specular Amount to be a little bit shinier on this, but I also want this to be a little bit glossier too. And then, as we work our way down, we can put some reflection on it.

And as soon as you do that, you start to see this metal look that we're after. And with modo, you don't have to worry about turning on reflections; they are just automatically there. But what is it reflecting? A reflection is always about the environment and the surroundings. Well, in this case we actually have some other geometry there, and our environment at this point, well, we haven't done anything with it, so it's just kind of reflecting nothing really. But it works pretty well right here, and it depends on how shiny you want to make this thing. If I crank this all the way up, obviously it can get very shiny; I can also hit Blurry Reflections, and give that just a little softer look.

But there is a button here called Match Specular, and what that does is it matches the reflection with the Specular Amount. What does that mean? Well, in years past, people would put a Specular Amount on and the surface itself is diffused, meaning the light has 80% value towards that surface. That surface is taking in most of the light in the scene. But then when you add in some reflections, you'd get this overly bright surface. I would imagine if you did a search on YouTube for "Gold Chalice 3d," you'd probably find a lot of really glowing gold chalices, because people would put reflections on and not consider the other aspects of the surface, like Specular and Diffuse.

So what Match Specular does is it balances the amount of reflection with the amount of secularity in the scene, helping that surface become balanced with the other surfaces, and not making it too bright. Having said that, this particular surface doesn't really need that, but that's what that button does. As we work our way down, we don't have any bump or displacement, so we're okay there. And what I might do, now that we've added a little bit of reflection, is open up this Diffuse Shader again, and just darken this a bit, give that a little more contrast, and then we've got a very nice metal surface.

Since I like all of that, I am going to right-click on this material and copy it, and then I am going to come down to the Clamp. That's this part right here in the center. Open that up and for that Material, I am going to right-click and paste, and all of those surface properties are now copied. But I do know that that should be black, so I can just click on this and bring that color down. So it's a lot easier just to copy everything and make one small edit. And for the Reflection, we'll just make that more about 10%. Easy enough.

And since we have copied that clamp, we can go into the Handle and right-click and paste it down there. So now our handle has that same material. But I do know that our handle should have two surfaces. We have the bottom surface and the top, but we never set that. So in order to edit that, we just go to Polygon mode. You could do it right down here in Perspective, and just make sure that's selected in the Items List. So we're going to go to the Handle, and that tells modo this is what we want to work with, and now you could see I can very easily select.

I will double-click. I will press M to create a material, and we'll call this TopHandle. Now we have a separate material group just for that TopHandle. I am still going to paste down that metal surface I just created. Then all I want to do is change the color of it. For that, we're going to choose just a nice deep red, and here's one right here we can use too. Now, the reflection looks a little bit too much. The whole surface looks a little too bright to me. So I want this to be a little bit duller, so we're going to bring the Specular down to about 10. And the way I am going to go through these now is with the Tab key, the Roughness about 10 and the Reflection about 10, and that way we get a little bit flatter surface.

We can also hit Conserve Energy, which is going to help some of that brightness, so it's just not so glowing, in a way. And since I like how that looks, I am going to right-click and copy this and then back down to the base handle, right-click, and paste that, and then we will just change that color just back to a simple gray metallic. Lastly, I am going to go to the hose. And to create the hose material, we're going to make this just a very simple rubber hose. So I am going to take a dark gray, almost black. I rarely ever use solid black, because it just kind of gets lost in the scene.

And for the Specular Amount, it looks okay; it might be a little too clean and shiny. I am going to bring that down a little bit. And the Roughness, we're going to increase that so it's not quite as shiny. And for the Specular Color, the white is okay, but I am just going to go down to the gray, so it makes a nice hotspot, but not quite as bright. And so, quite easily, we've taken the surfaces that we had created earlier and edited them into something recognizable. There's a lot more we can do with this when we get into the procedural textures section.

Surfacing in modo is relatively easy, especially when it comes to just base materials and colors like this. Editing them is quite easy. You can always redo a color, reset some polygons like we did with the top handle here, and assign a new color to it.

Show transcript

This video is part of

Image for MODO 501 Essential Training
MODO 501 Essential Training

80 video lessons · 4663 viewers

Dan Ablan
Author

 
Expand all | Collapse all
  1. 2m 21s
    1. Welcome
      55s
    2. Using the exercise files
      1m 26s
  2. 42m 37s
    1. Understanding the interface
      4m 30s
    2. Understanding the workplane
      5m 7s
    3. Understanding Action Centers
      4m 12s
    4. Working with the modeling tools
      5m 10s
    5. Understanding surfaces
      7m 12s
    6. Selecting elements
      7m 33s
    7. Understanding the elements of a 3D model
      4m 3s
    8. Understanding symmetry
      4m 50s
  3. 1h 2m
    1. Building a model
      8m 56s
    2. Editing geometry
      10m 39s
    3. Controlling geometry
      10m 31s
    4. Bending geometry
      6m 42s
    5. Adding detail with edges
      5m 37s
    6. Editing polygons
      10m 27s
    7. Extending polygons
      9m 34s
  4. 42m 53s
    1. Understanding subdivisions
      3m 49s
    2. Understanding Pixar-based subdivisions
      2m 48s
    3. Creating a basic model
      7m 51s
    4. Beveling with subdivisions
      6m 6s
    5. Adding detail to models
      8m 54s
    6. Deforming and shaping objects
      7m 48s
    7. Cloning
      5m 37s
  5. 49m 32s
    1. Creating with Radial Sweep
      4m 44s
    2. Working with text
      8m 40s
    3. Understanding replicators
      7m 22s
    4. Instancing objects
      7m 0s
    5. Working with Curve Clone
      4m 36s
    6. Working with Curve Extrude
      2m 25s
    7. Modeling with Array
      8m 50s
    8. Understanding Mesh Paint
      5m 55s
  6. 1h 4m
    1. Introducing the Shader Tree
      4m 32s
    2. Exploring layer-based shading
      4m 29s
    3. Creating surfaces for polygons
      7m 41s
    4. Editing surfaces
      7m 4s
    5. Applying procedural textures
      7m 38s
    6. Applying image-mapped textures
      6m 2s
    7. Working with transparent images
      5m 48s
    8. Adding bump maps for realism
      8m 49s
    9. Enhancing surfaces with specularity and glossiness maps
      3m 25s
    10. Creating a reflective surface
      3m 27s
    11. Working in glass
      5m 28s
  7. 39m 9s
    1. Building 3D scenes
      2m 49s
    2. Working with different light types
      8m 26s
    3. Lighting a 3D scene
      12m 51s
    4. Reflecting light
      5m 23s
    5. Lighting environments for realism
      4m 18s
    6. Blending light sources
      5m 22s
  8. 21m 1s
    1. Understanding the MODO 501 camera
      5m 39s
    2. Setting up a camera
      5m 42s
    3. Placing multiple cameras
      7m 11s
    4. Animating cameras
      2m 29s
  9. 29m 58s
    1. Understanding the timeline
      7m 16s
    2. Adding and controlling keyframes
      3m 22s
    3. Fine-tuning keyframes in the Graph Editor
      6m 17s
    4. Animating nontraditional elements
      4m 31s
    5. Animating colors
      4m 39s
    6. Animating displacement maps
      3m 53s
  10. 13m 57s
    1. Working with Hair Guides
      3m 18s
    2. Creating human hair
      4m 7s
    3. Creating the hair's surface
      1m 30s
    4. Generating animal hair
      1m 48s
    5. Building enhanced hair textures
      3m 14s
  11. 26m 21s
    1. Working with the painting tools
      6m 14s
    2. Painting on multiple layers
      9m 37s
    3. Sculpting models
      5m 45s
    4. Tweaking and finishing with the sculpting tools
      4m 45s
  12. 25m 56s
    1. Working with the Schematic interface
      1m 20s
    2. Understanding channels
      4m 9s
    3. Building a channel-based animation
      5m 51s
    4. Creating a schematic network
      6m 26s
    5. Setting up inverse kinematics
      4m 29s
    6. Adding the finishing touches on schematic rigs
      3m 41s
  13. 26m 47s
    1. Understanding resolutions and rendering
      12m 43s
    2. Setting up a render project
      4m 51s
    3. Rendering to movie files vs. image sequences
      9m 13s
  14. 3m 23s
    1. Exporting an object
      1m 2s
    2. Exporting a full scene for backup
      2m 21s
  15. 2m 2s
    1. Next steps
      2m 2s

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