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In this course, author Dan Ablan walks through the process of understanding the MODO workflow while learning to create 3D models and animations. The course teaches fundamental tasks, such as modeling polygons and applying materials with the Shader Tree, while exploring scene building in depth through advanced lighting, camera, and animation techniques. The course also covers MODO's schematic tools and shows how to render animations for various playback media.
In the last few videos, we've worked with image maps and transparency maps so that we can create images on our models. In this case, we have the FireExtinguisherEmbossed file loaded from the exercise files. And the way this works is that a black-and-white image is used with a transparent background. That transparent background drops out, allowing us to create different types of surfaces. If I open up the Render in the Shader Tree and then I come down to the Fire_Ex_Base, our Fire label with the transparent background is set to Bump Map.
Originally, we had just put it on as a Diffuse Amount like this, so it's just a simply label. But set to a Bump Map, that Black and White value makes it appear like it's embossed. I am going to turn off the Worn Edges, so everything draws a little bit faster for us. But what if I want to go a little bit further with this? Well, that's where Specularity and Glossiness maps come into play. The overall surface for this model has a Specular Amount of about 20%. I want to increase it, as well as the Roughness, which is like the gloss, it applies to the whole model here. And I am going to turn off the Crackle Bump too, so you can see that.
That's okay, but what if we want the Emboss to look a little bit differently? How would we do that? Well, I am going to select that Transparent label, I am going to right-click on it, and instead of just duplicating it, I am going to create an instance. We had created instances earlier for actual models. You can also create an instance for an image. And what that means is, remember, this is a virtual copy, so that if we make a change to the original that created the instance, it will also change that copy; it will change that instance. So I am going to create an instance for the Transparent label. You know it's an instance because it's italicized. And then the bump map, I am going to right-click on it, and then I'm going to change the Basic Channel of this to Specular Amount. And what that means is the white value of the image will actually determine the Specular value for that area, and what you end up with is this very nice different surface.
It gives it even more realism. I can then create another instance of this and change that effect from the Basic Channels to Gloss, or in this case Roughness, which determines the gloss. So now this value in here is based on this black-and-white image, and if I rotate my Camera view around a little bit, you can see how it affects it. I will just hold the Option and Command key on the keyboard on a Mac; you can try Ctrl and Alt on the PC. You can see how that specularity of that base material now affects that.
If I come back to that Base Material, and I play with this Roughness, and I bring it all the way down, look what happens. Even though the entire unit itself now has much less roughness and specularity, I'm catching a lot more of it where that logo is applied, because of these two maps. So think of this on another level, if you're doing a landscape, you're doing an ocean. You can create different levels of Specular and Bump all based on these black and white images. So where that light is hitting, I am getting a lot more gloss and a lot more specularity, a lot more shine than I am in the areas where it's not.
But it's differentiating itself from the base material which has less, all because of that black and white image. So on your next project, try putting in some black-and-white images, whether it's a logo or a landscape, and create a little bit more enhancement with Specular and Glossiness maps.
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