IntroductionWelcome| 00:00 |
(MUSIC).
Hi, I'm Ellery Connell.
| | 00:05 |
Author, designer, and educator.
I have nearly 20 years of experience
| | 00:09 |
creating 3D for print, web, visualization,
visual effects, and game design.
| | 00:14 |
I've taught seminars, webinars, training
videos, and university level courses in 3D
| | 00:18 |
modeling, animation, and visual effects.
And I'm author of the book, 3D for Graphic Designers.
| | 00:24 |
Over the years, I found that many of my
best clients have been excellent designers
| | 00:27 |
that don't have the 3D skills necessary to
complete portions of their projects that
| | 00:31 |
require 3D skill set.
This opens up a great market for both 3D
| | 00:36 |
artists looking for a marketable use for
their skills, as well as graphic designers
| | 00:39 |
and artists that are looking for a leg up
on their competition.
| | 00:44 |
This series will help you to enhance your
skills, to create stunning visualizations.
| | 00:49 |
We'll cover the creation of materials and
textures, UV maps, lights, environments,
| | 00:53 |
as well as options for finished rendering.
After watching this course and practicing
| | 00:58 |
the techniques demonstrated, you'll be
ready to create clean and professional
| | 01:01 |
product visualization renders.
These skills will allow you to take simple
| | 01:06 |
or complex models and turn them into
complete and compelling 3D scenes.
| | 01:10 |
I hope that you enjoy this training let's
get started.
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1. OverviewApplications used in this course| 00:02 |
In this video, we'll have a look at the
applications used for this 3D training series.
| | 00:06 |
Now, we'll be using two main applications.
One will be a 3D application, which is
| | 00:11 |
Luxology Modo, and that will be used for
creation of your 3D scenes, applying 3D
| | 00:15 |
textures, building lights, environments
and other things necessary to create a
| | 00:18 |
completed 3D scene ready for rendering.
And the other application that you'll need
| | 00:25 |
is Adobe Photoshop or another 2D image
editing application.
| | 00:30 |
Now, this course won't cover specific uses
of Photoshop directly, but we'll use some
| | 00:35 |
common techniques to create good,
effective 3D textures.
| | 00:40 |
You can use any other 2D image editing
application, but you should make sure that
| | 00:44 |
you have control over paths and channels
for your individual images.
| | 00:49 |
In this case, I can see that I have
control over my red, green and blue
| | 00:52 |
channels, and I can use those to create
good, effective 3D textures.
| | 00:58 |
You'll need all of these in order to get
the best use out of your textures, and
| | 01:01 |
create things that will import seamlessly
and be very useful in creating the
| | 01:05 |
textures on your 3D models, and in your 3D
scenes.
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So, with an image editor that you're
comfortable with, either Photoshop or
| | 01:15 |
another, and luxology modo, you're ready
to go to start creating good quality 3D
| | 01:18 |
renderings for your product visualization
needs.
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| Using the included files| 00:02 |
In this video, we'll have a quick look at
some of the included content that we use
| | 00:05 |
in this video.
There are three types of content that are
| | 00:08 |
included with this series.
There are model files and scene files,
| | 00:12 |
which give you completed objects, or
completed scenes for use in this video.
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That way you can hit the ground running
and not have to start modeling from
| | 00:24 |
scratch in order to create something to
texture, light and render.
| | 00:28 |
You'll also receive some images, that can
be used.
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These images will give you a good head
start if you don't have your own existing
| | 00:39 |
logos, or other things that you'd like to
use in your visualization scenes.
| | 00:44 |
These will also be the starting points for
creating some more advanced textures.
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In addition to the images and models, you
will also receive scene files that are
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progressively saved throughout the course
of the training series.
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That way if you'd like to jump in at the
beginning of any individual lesson, you
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don't necessarily have to work all you way
up to it.
| | 01:01 |
You can grab the scene file that starts
with that video and you're ready to go.
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So, with these three types of included
content, you should be able to move very
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quickly through this, or as slowly as
you'd like.
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You can use this content entirely, or you
can come up with completely new models and
| | 01:16 |
images to create your product and
visualization renders.
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2. UV MappingUV mapping overview| 00:02 |
In this video, we'll have a general look
at UV maps and what they can do to
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increase the power of our 3D texturing
pipeline.
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So, if we take a look at this 3D model
that's here, and if you'd like to follow
| | 00:13 |
along, you can open up the can model lxo
file.
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I have two layers here the can and then
the tab on the can and if I want to apply
| | 00:22 |
a texture to this like an image map.
Let's just start here by going and
| | 00:28 |
grabbing an image and dropping it on.
Can get a look at that image and see that its.
| | 00:32 |
Just the Luxology logo with some color
tags on it.
| | 00:36 |
But if I drop that onto my object, right
away we see that nothing happens.
| | 00:41 |
So let's just over to the render tab and
have a look at what's going on here.
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So let's just grab an image.
And toss it onto this object.
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And you can see right here that nothing
happens because I don't have an individual
| | 00:55 |
material tag set on here yet.
So I'm going to go to Polygons, select
| | 00:59 |
this object here, press M and we'll call
it can.
| | 01:02 |
And then I'm going to take this and drag
and drop it right onto that can.
| | 01:07 |
You can see that the tab doesn't get
changed at all in color, but the can
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itself now has taken on the background
color of this image.
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Now, the image, if you look is just the
Luxology logo with the color tags on it
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for the color swatches, but we don't see
that logo appear anywhere on here.
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That's because by default modo is going to
be looking for a UV map in order to put
| | 01:30 |
that image onto the can.
So let's jump over to the render tab and
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we can see what's going on here.
If we open up the shader tree and look, we
| | 01:38 |
have a can material and then we have our
luxology image right in there.
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If I go to the texture locator, you can
see that my projection type for my texture
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is set to UV map.
And that the UV map is set to texture.
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So let's follow the bread crumb along to
the U-V tab And go to lists where we can
| | 01:55 |
find our UVs.
And we can see here is our UV texture.
| | 01:59 |
And when we select it, lo and behold,
nothing appears.
| | 02:02 |
That's because this has an empty UV map.
There aren't any polygons in this UV that
| | 02:07 |
are showing this image where to go on the
model.
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Now a UV map is essentially a two
dimensional representation of a 3D object.
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So if there are no polygons in this UV
map.
| | 02:18 |
Nothing is going to represent this 3D
model in 2D space.
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So there's no way for this image to
properly apply to the can.
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You have a couple of options for dealing
with this.
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Let's go to the Texture Locator and look.
We can simply change the projection type
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to something like Cylindrical.
Let's put that on the y so it's going up
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and down.
You can see here we have it but it's
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tiling pretty badly because the size is
set to one meter by one meter by one meter.
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And this is actually a really large can at
this point.
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So if I just click auto-size it's going to
create a cylinder.
| | 02:53 |
You can see this cylinder here.
This represents the cylinder where our
| | 02:56 |
image is being wrapped around.
You can see it wraps all around the can.
| | 03:00 |
And this is something that we can edit.
I can take this texture locator and I can
| | 03:04 |
change the scale and you can see that that
changes there.
| | 03:07 |
I can also change the x and the z size and
that will change how much it wraps around
| | 03:12 |
the can.
I can also even go in with my Scale tools
| | 03:15 |
on that object and scale the actual object
because textual locators are items that
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can be scaled and moved around at will.
I could also just go to my Move tool and
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move it around as well.
But the problem with this is that we get
| | 03:29 |
very little precise control over where
everything is actually mapped.
| | 03:34 |
And on something like a cylinder that
might not be too much of an issue but.
| | 03:38 |
When you get into more complex 3D objects,
that can become something that's a really
| | 03:41 |
difficult thing to deal with in order to
create good 3D textures.
| | 03:46 |
So, the way to deal with this is to create
a UV map, which will take all the polygons
| | 03:50 |
that we want to use in this texture.
Represent them here in 2D space.
| | 03:56 |
Then, when a 2D image is applied, every
point along this grid space from 0 to 1 vertically.
| | 04:03 |
And from 0 to 1 horizontally.
Or V for vertical U for horizontal will be
| | 04:08 |
mapped to a pixel in the 2D image.
If the image is not a perfect square, it
| | 04:14 |
will simply be stretched to fit the UV
space.
| | 04:18 |
So rectangular image will be stretched
vertically in order to fit this space.
| | 04:22 |
And that's something that you'll want to
pay attention to as we start to build
| | 04:26 |
actual UV maps.
So, with good UV maps created, they can be
| | 04:30 |
used for a number of things.
Creating placement for your
| | 04:35 |
two-dimensional textures.
They can also be used for painting
| | 04:39 |
surfaces with images directly onto the 3D
model.
| | 04:43 |
They can also be used for baking and
creating flattened images for any number
| | 04:47 |
of possible 3D channels.
And that can be the image color.
| | 04:52 |
That can be the specular and reflective
amounts.
| | 04:54 |
That can be transparency and anything else
that you might want to include on your 3D Model.
| | 04:59 |
So, UV maps are an essential and critical
part to creating good product
| | 05:03 |
visualization renders.
Oftentimes it's a part of the workflow
| | 05:07 |
that gets ignored because it can be a
little tedious at first.
| | 05:11 |
But once you learn how to manipulate your
UV maps properly.
| | 05:14 |
You'll be well on your way to creating
good, quality renders.
| | 05:17 |
In moto.
| | 05:18 |
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| Creating new UV maps| 00:02 |
In this video, we'll have an introductory
look at the creation of UV maps inside of Moto.
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And some of the main tools that are used
for starting to create your UV maps.
| | 00:11 |
Now, if you'd like to follow along, you
can open up the can model LXO file.
| | 00:15 |
And this is where we'll be starting for
creating a UV map for this soda can.
| | 00:20 |
So, the first task when you're creating a
UV map is going to be looking for where
| | 00:25 |
you'll want seams to lie.
If you think about a UV map, like,
| | 00:29 |
something like a bear-skin rug, you're not
going to make a rug out of a bear without
| | 00:33 |
having to make a few cuts.
So the same thing happens with creating UV maps.
| | 00:39 |
If I want to take this and flatten it out
into 2D space.
| | 00:43 |
I'm going to have to make some compromises
on the continuity of the surface.
| | 00:46 |
So, the best thing to do is to find areas
where those cuts will either be able to be
| | 00:50 |
covered very easily and seamlessly, or
make them in places that will be difficult
| | 00:55 |
to see based on the camera angles that you
will using for your finished renderings.
| | 01:03 |
So I'm going to start by creating UVs for
the top and bottom of this can.
| | 01:09 |
And I'm going to go ahead, and, at first
hide the tab, so it's out of our way.
| | 01:12 |
And then we can see just the top of the
can very clearly.
| | 01:16 |
Without anything else encumbering our
view.
| | 01:18 |
So let's start with the bottom.
Because that's going to be the simplest.
| | 01:22 |
Piece to do here.
I'm just going to select the middle polygon.
| | 01:25 |
And press Shift and the up arrow until I
get all the way out to this edge.
| | 01:29 |
And this is where I'm going to create my
scene.
| | 01:31 |
Now, depending on how you create your
texture, you might want to move that seam
| | 01:34 |
up a little bit.
Or you may want to tuck it down in a
| | 01:37 |
little farther.
If for example you're going to be creating
| | 01:40 |
a label that goes down to say this polygon
ring right here and not below and then the
| | 01:44 |
under part will be just a basic aluminum
color.
| | 01:49 |
You may want to move your polygon
selection all the way up to here and that
| | 01:52 |
way you can create a scene there and it's
also going to give you a nice crisp edge
| | 01:55 |
for where your label ends.
In this case I'm going to leave it down
| | 01:59 |
here so that I have the extra space to use
in case I want to have some kind of texture.
| | 02:04 |
Down in there.
Now, the first basic tool that you use for
| | 02:07 |
creating UVs is the projection tool.
And that's over here on the left in our UV tab.
| | 02:13 |
You can see that the UV projection tool
has a number of options that come up here
| | 02:16 |
in the bottom left.
Now, the projection type, by default,
| | 02:19 |
should be plainer.
And, that's going to just take a view from
| | 02:23 |
a particular angle.
Say from the bottom and then its going to
| | 02:28 |
create a UV just straight through there.
And actually this takes it from just
| | 02:33 |
positive angles, so really its going to be
creating this view through the top.
| | 02:37 |
And that's important to remember, if you
are projecting through to the bottom side
| | 02:40 |
of something, because we're actually going
to be looking at the underside.
| | 02:44 |
Now if you don't have anything with text
or anything that needs to line up exactly.
| | 02:47 |
You can leave it that way, but just know
that this UV is actually going to be
| | 02:50 |
flipped when we create it.
So let's create UV Projection Tool >
| | 02:54 |
Planar on the Y, and then I'm just
going to go ahead and click in UV space,
| | 02:57 |
and that will create my UV.
And see, as I select here, that I am
| | 03:01 |
selecting straight through on the right
side.
| | 03:04 |
Just as if I were on the top side looking
through.
| | 03:08 |
If I change to the bottom side to make
selections, you'll see that it is inverted
| | 03:12 |
based on this projection.
Again, if this is something similar, you
| | 03:17 |
probably will never have to worry about
it.
| | 03:19 |
Now, if I want to continue moving on,
let's go back to my perspective view.
| | 03:23 |
If I want to continue moving on, I have a
couple of options.
| | 03:26 |
I can either hide this section, and then
keep moving.
| | 03:29 |
Or I can take it and just move it out of
the way in UV space and just put it over here.
| | 03:35 |
All of these other grid spaces in the UV
down to the negative one in each direction
| | 03:40 |
will receive a tiled version of whatever
is placed image-wise in this part.
| | 03:47 |
So if I move a uv selection over negative
one in the u, it's going to put it over here.
| | 03:52 |
But then if I apply a texture, it's
actually going to receive the same texture
| | 03:54 |
if it were right here.
So for me, I like to move things out of
| | 03:57 |
the way and create one, big UV that has
everything in it at first.
| | 04:01 |
And then go on from there when I start
organizing my uv So if I want to move on,
| | 04:07 |
I can simply go to the top.
I'm going to select a couple of polygons
| | 04:13 |
and press L to get that loop.
And then I'm just going to press Shift and
| | 04:17 |
the Close Bracket key and that will select
everything inside of that selection.
| | 04:23 |
Now I can use Shift and the Up Arrow key
to select the entire rim.
| | 04:28 |
And I want to select this rim all the way
up to where it overlaps here.
| | 04:33 |
And I'm just going to to go right there so
I get a nice crisp edge there and anything
| | 04:37 |
that would tuck underneath will be part of
the rest of the can.
| | 04:42 |
So I'm going to do the same thing here.
Go to the UV Projection Tool > Planar on
| | 04:46 |
the Y and click.
Now this one will actually give us one
| | 04:50 |
slight problem.
And that is the fact that.
| | 04:55 |
All of these polygons right through here
will be taking up little to no space in UV space.
| | 05:00 |
And see that this polygon here has a
little bit of depth.
| | 05:03 |
But this one and this one actually get
nothing.
| | 05:06 |
So we'll want to correct for that in our
UV map.
| | 05:10 |
So what I'm going to do is double-click on
the UV.
| | 05:13 |
Then press Shift and the Down arrow once.
And then I'm going to use my Scale tool to
| | 05:20 |
scale this in slightly.
Just so that I give this a little bit of
| | 05:24 |
UV space.
It doesn't need to be a lot, because this
| | 05:26 |
is a very small area.
Press Shift and the Down arrow again, and
| | 05:30 |
I'm going to scale this down again.
And then Shift to the down arrow, and then
| | 05:35 |
we can see we probably have everything
that we need here.
| | 05:37 |
So, if I select through here you can see
that all three of these polygons are well represented.
| | 05:43 |
If I want I can simply go and deselect
here one more level and then scale this in
| | 05:48 |
just a little bit more to kind of even out
that UV.
| | 05:55 |
But that way I've dealt with this overlap
and I have the same problem actually
| | 05:59 |
probably right through here.
You can see that these get a little bit of
| | 06:03 |
UV space but might need a little bit more.
So if you need to relax your UVs' a little
| | 06:07 |
bit this is a good way of starting to do
it.
| | 06:10 |
Cause it will allow you take any overlap
sections and create some good UV space for
| | 06:15 |
them So theres that one.
I'm going to take that one, turn on the
| | 06:20 |
move tool and just drag this down into the
next available space and drop my tool.
| | 06:28 |
Now I'm ready to do the center selection
here.
| | 06:33 |
If I select both the UVs that I've already
created, those islands, I can just press
| | 06:36 |
the Open Bracket key.
On the keyboard and that will invert my
| | 06:40 |
selection and give me the rest of the can
that hasn't been UV'd yet.
| | 06:45 |
Now when moving onto a section like this
you have a couple of options.
| | 06:48 |
We can use the UV projection tool and set
it to 'cylindrical'.
| | 06:52 |
And then click and it's going to create a
complete full UV, it fills this whole zero
| | 06:57 |
to one quadrant and stretches everything
out evenly.
| | 07:02 |
Now this may or may not be the best UV for
creating a texture for this can.
| | 07:08 |
The reason for that is that we have a
definite taper in the can right up through here.
| | 07:13 |
In this section that is not reflected at
all in the UV.
| | 07:17 |
If you want to create something seamless
that goes from left to right this will be
| | 07:20 |
good because when you get to the right
hand side of this, and have anything that
| | 07:23 |
overlaps over the edge it will wrap simply
right around onto the other edge of the can.
| | 07:29 |
And then you won't have any problems with
this.
| | 07:33 |
Another way to deal with this is going to
be the unwrap tool which in some ways is
| | 07:36 |
going to work very similarly to the UV
projection tool but give you some more options.
| | 07:41 |
So I'm going to select these polygons, go
to the unwrap tool, and if I set my
| | 07:44 |
initial projection on the cylindrical on
the y.
| | 07:47 |
I want to make sure that I turn off seal
holes.
| | 07:50 |
That's going to be the top and the bottom
and if I click here, we'll notice right
| | 07:53 |
away that something bad is going to happen
so I'll go head and do it so you can see.
| | 07:58 |
Yikes, now the problem here is that it has
tried to create a, a cylindrical UV
| | 08:01 |
without any slices so its like trying to
create that bearskin rug without cutting
| | 08:06 |
it at all.
Now there is an easy way around this.
| | 08:12 |
I'm going to go ahead and press Shift + H
to hide everything in my viewport except
| | 08:15 |
for my current selection.
Now I'm going to go to my edge mode.
| | 08:20 |
Double click on a single edge here.
In this case I'm going to get the one
| | 08:24 |
that's running right down the back of the
can.
| | 08:27 |
And now I'm going to go ahead and run the
unwrap tool again.
| | 08:30 |
I'll leave all the other settings the same
and click.
| | 08:33 |
And now you can see that this is now
stretched this out and it's created a seam
| | 08:36 |
along the can.
Where I have that selection made.
| | 08:41 |
If I create more selections of something
like this, I can use the unwrap tool and
| | 08:44 |
it will create multiple islands based off
of those selections.
| | 08:51 |
For now, I'm just going to use that single
loop.
| | 08:53 |
Now, there are two issues that we have
with this Unwrap tool.
| | 08:59 |
With something very straight and
cylindrical like this example I may have
| | 09:02 |
some problems with the actual orientation
of this.
| | 09:05 |
So, in this case, it's going to give me
something that's tilted because it's
| | 09:09 |
trying to fill up the space as best as it
can.
| | 09:12 |
I can pretty easily go ahead and rotate
this.
| | 09:15 |
Or I can use the orient pieces tool.
Set it to Auto and click OK.
| | 09:22 |
But you can see that I still have some
wavy lines going through here.
| | 09:26 |
Now these can be corrected just by
selecting them.
| | 09:32 |
Pressing the L key, and then I'll need to
deselect the very ends, which will be
| | 09:37 |
right there.
And then on the other side, which is right
| | 09:46 |
over here.
And now I can simply use my Scale tool and
| | 09:52 |
I want to flatten all this out, so I'm
going to set my Action Center to Local,
| | 09:56 |
then I'm going to Axis to Auto.
So it will position the tool at every
| | 10:02 |
individual edge loop, but it will orient
it up and down, left and right with the world.
| | 10:06 |
So if I flatten these out and set my, turn
off my negative scale, we can flatten
| | 10:10 |
these out.
And now I can invert my selection again
| | 10:15 |
and do the same thing horizontally.
You can see that I have corrected this.
| | 10:21 |
Now the one problem that I have is by
making this second correction, I've
| | 10:24 |
actually flattened out that natural
curvature that I had.
| | 10:29 |
So you may need to make a few more
adjustments, in order to get this exactly
| | 10:32 |
how you want it.
But in the case of something a little bit
| | 10:36 |
more organic, this might be a good way to
go.
| | 10:38 |
For now, I'm actually going to go back to
the UV Projection tool.
| | 10:42 |
Set it to cylindrical and go ahead and
click.
| | 10:44 |
Because, in this case, I don't think that
I'm going to need anything much different
| | 10:47 |
than that nice, flat, even UV.
Because, for the most part, in this whole
| | 10:52 |
midsection this is giving me exactly what
I need: flat, even polygons that are well
| | 10:56 |
distributed throughout UV space.
But by learning the basics, you can really
| | 11:01 |
unwrap the majority of your UV models,
just by breaking them into individual
| | 11:05 |
chunks and using the Projection and the
Unwrap Tools.
| | 11:09 |
| | Collapse this transcript |
| Editing existing UV maps| 00:02 |
Many times you'll want to deal with UV
maps that have either been created automatically.
| | 00:06 |
So autogenerated UV maps that come with a
lot of primitives and other shapes that
| | 00:10 |
you build in Modo or you'll have a UV map
that you've created previously and
| | 00:13 |
you'want to be able to edit it and adjust
it to either make it better, or make it
| | 00:16 |
suit your needs for whatever your current
project is.
| | 00:21 |
So in this video, we're going to look at
how to edit existing UV maps.
| | 00:25 |
We'll look at editing a primitive map.
And also editing a UV map for something
| | 00:29 |
we've already built.
If youd like to follow along with this can
| | 00:32 |
model, you can open up the
Can_Model_UV1.lxo file from the content
| | 00:36 |
and you'll be right here with the UV map
created for the body of the can, the
| | 00:39 |
bottom, and the top lid.
So let's jump right into this model, and
| | 00:48 |
we can see how to correct some of the
issues that are created by creating a
| | 00:51 |
strictly cylindrical UV, which fills the
UV space entirely.
| | 00:55 |
So I'm going to double-click on this
section here to isolate it, press Shift+H
| | 00:58 |
to hide everything else, then we'll just
be dealing with this section right here.
| | 01:05 |
If you look at this model, you can see
that the middle of the can has relatively
| | 01:09 |
uniform spacing.
And as we continue to expand up one more
| | 01:13 |
polygon loop on top and bottom, you can
see that also we have good uniform spacing.
| | 01:20 |
And even on this next one, everything is
relatively even.
| | 01:26 |
But when we move on to the next couple of
polygon loops, the can starts to taper in.
| | 01:31 |
So we should have a slight decrease in
width for each of these subsequent rows.
| | 01:37 |
Now, if you want to take this into account
directly, you can do it just by scaling.
| | 01:41 |
So, what I can do, is go to edge mode or
polygon mode.
| | 01:47 |
It really doesn't matter here.
We can do it in polygon mode.
| | 01:49 |
And I'm going to loop select all of this,
and then I'm just going to use my Scale tool.
| | 01:55 |
Scale down just a little bit.
And then I'm going to deselect, holding
| | 02:00 |
the Control key.
This next section, scale again.
| | 02:03 |
Deselect this section.
(SOUND) Scale again.
| | 02:11 |
Again, these are very slight corrections.
And then, finally, with the top section
| | 02:16 |
you'll have to use either vertices or
edges because you can't select an entire
| | 02:19 |
poly loop to do this job.
Now, we'll select and just scale it in a
| | 02:23 |
little bit more.
Okay.
| | 02:25 |
So, then, we've kind of taken into account
this taper.
| | 02:30 |
Now, you can also do this same kind of
thing with a falloff.
| | 02:32 |
So I'm going to select this bottom loop,
Shift+Up Arrow once and twice to get to
| | 02:37 |
this section here.
And now, I'm going to go to Falloff >
| | 02:42 |
Linear, and then I'm just going to click
and drag out this falloff.
| | 02:48 |
And you can see right now it's set to have
some symmetry.
| | 02:54 |
So I'm going to turn that to None.
And you can also see, if I zoom in here,
| | 02:58 |
that right now it's going to scale 100% at
the top and 0% at the bottom.
| | 03:04 |
which is actually the inverse of what I
want, so we can go ahead and reverse that.
| | 03:08 |
And then also, this is going to scale
linear here and you can see that this a
| | 03:12 |
bit of an S-curve.
So, I'm going to change my Shape Preset to Smooth.
| | 03:16 |
And though it's going to be a subtle
difference, that's important to take that
| | 03:20 |
into account.
Now, the other thing that I'll want to do
| | 03:24 |
is look at my U which is my left to right.
Right now I'm at 515 mm in both Start and End.
| | 03:31 |
And I want this to be completely straight
up and down, so I'll just move those both
| | 03:35 |
to 515.
And now I can turn on my Scale tool.
| | 03:38 |
And when I scale, I'll get that little bit
of an S-curve taken into account.
| | 03:43 |
And I could've done the same thing on the
top.
| | 03:45 |
I just want you to be able to see both
ways of doing that.
| | 03:47 |
And now I've got a UV map that kind of
takes into account the taper of the can.
| | 03:52 |
With simple editing using all of your
typical transform tools, scale, rotate and
| | 03:57 |
move, you can easily get your UV maps
exactly how you want them.
| | 04:02 |
And you also can use falloffs, so you can
more precisely edit your UV's.
| | 04:08 |
And, if you come with something a bit more
organic where you need a little bit more
| | 04:11 |
fluid editing of the UV, you can use the
UV sculpt tools.
| | 04:15 |
You can smooth, smudge, move, tangent
pinch.
| | 04:18 |
Any of the tools that you'd use on normal
polygon sculpting, you can use directly on
| | 04:22 |
your UV's.
So if, for example, I wanted to smooth
| | 04:25 |
this out, you can see the smooth effect.
Works as it pulls the polygons together to
| | 04:31 |
make them more uniform and more even.
We don't want that in this case but that
| | 04:35 |
is there if you're dealing with good
organic UV's.
| | 04:38 |
So, there we go.
Now we've got a little bit more correct
| | 04:41 |
can shape.
Once again, if you are dealing with
| | 04:44 |
something where you want this to tile
directly left to right, this wouldn't be
| | 04:47 |
the UV that you'd want.
But it is a good option to have if you
| | 04:51 |
need to take into account the taper.
And by going to the Options and showing,
| | 04:56 |
Show Distortion, you can see now the
actual distortion on this.
| | 05:01 |
Now, you'll notice that all of this is red
right now.
| | 05:03 |
And that's because I have two other pieces
in here, which we can unhide.
| | 05:07 |
And they're both going to show up as blue,
and that's because this is all relative to
| | 05:10 |
the entire object.
Red polygons are receiving less relative
| | 05:15 |
space in the UV as they would get in 3D
space.
| | 05:18 |
Blue polygons are receiving more space in
the UV than they would in the 3D world
| | 05:22 |
because you can see my top and my bottom
are much larger relative to the can, as
| | 05:26 |
they are here in 3D space.
And then, when they reach kind of the
| | 05:32 |
off-colored olivey, kind of like this
section through here.
| | 05:37 |
They're actually properly scaled relative
to the other bits.
| | 05:40 |
So, if you need to get good adjustment on
these, and you want them to all be exact,
| | 05:45 |
and you want them all to be kind of that
grayish color.
| | 05:50 |
But if you're dealing with parts where you
have some things scaled properly and some
| | 05:53 |
things scaled properly and some things
not, then they will be relative to the
| | 05:56 |
individual UV island, so relative this
piece right here.
| | 06:00 |
So you can see that this section right
here is much stronger red, which means
| | 06:05 |
that its receiving less space than it
should.
| | 06:09 |
So if I adjust one of my edge loops here,
just using my Move tool, you can see that
| | 06:13 |
it should start to even out.
There we go, looks like moving that up
| | 06:18 |
give myself a little bit more UV spaces
fixing that.
| | 06:21 |
But it's kind of compacting the piece
underneath.
| | 06:24 |
So I'm going to do is select this entire
loop through here, and move that up.
| | 06:33 |
And sometimes you'll need to adjust
multiple loops in order to get just the
| | 06:39 |
right kind of, adjustment.
So let's move this whole thing out of here.
| | 06:44 |
And with larger polygon loops like this
one, you're going to have more wiggle room.
| | 06:48 |
So, you can see just by moving those up a
little bit, I'm decreasing the amount of red.
| | 06:53 |
So I'm kind of fixing the distortion and
this is now becoming a hair distorted but
| | 06:56 |
the closer you get these to each other the
better its going to look as far as being
| | 07:00 |
realative to the actual scale of the
object.
| | 07:06 |
Now if you want a clear view of this still
I'm just going to take this and copy it
| | 07:09 |
make a new layer and paste it in.
Now I'm just going to hide my can.
| | 07:14 |
Now you can see that I've got.
A more broad spectrum of colors, and I can
| | 07:18 |
see that these polygons up here are
getting more space, these polygons down
| | 07:21 |
here are getting more space, and the rest
are getting relatively even spacing.
| | 07:28 |
And you can go in and make adjustments
based off of this.
| | 07:32 |
You can see if I pull it one way or the
other.
| | 07:34 |
That those colorations appear and you want
to get less saturation in order to make
| | 07:38 |
this more even.
Alright, so that's how you would edit an
| | 07:42 |
existing UV, there.
I don't really need this in it's own extra
| | 07:45 |
layer, so I'm just going to go ahead and
right-click and delete that layer, and
| | 07:47 |
then we'll just go back to our regular can
model.
| | 07:50 |
Now sometimes, Modo will auto generate
UVs, so I'm going to make a new scene file.
| | 07:57 |
Go over to the model quad view, and let's
say you've taken the time to painstakingly
| | 08:01 |
model this beautiful cube, and you want to
put some textures on this as if it were a
| | 08:05 |
product box.
So I'm going to over to my UV tab, and you
| | 08:10 |
can see that I have, indeed All of my
polygon faces accounted for here in the UV.
| | 08:16 |
However, there are a couple of problems
with this.
| | 08:19 |
First, they're all stretched vertically
quite a bit.
| | 08:22 |
Second, they are also giving equal
importance to all the faces.
| | 08:30 |
Now if I'm going to do this for a product
shot, I'm probably going to want.
| | 08:32 |
Maybe this face, this face, and maybe the
two side faces here to have a lot of the texture.
| | 08:40 |
And that's where I'm going to put all of
my branding, my labels, and things like that.
| | 08:43 |
On the back I might have some smaller
things.
| | 08:45 |
And on the bottom I'm going to hardly use
that one at all.
| | 08:48 |
So by using the UV space a little bit more
effectively, I can actually get a better
| | 08:52 |
usage of my space and I can give more
importance to the faces that are going to
| | 08:56 |
be used directly for my branding.
So what I'm going to do here is I'm
| | 09:02 |
going to start by selecting all of this,
use my Scale tool and I'm going to set my
| | 09:05 |
action center to the origin, so it's
going to pull everything down this way,
| | 09:08 |
and I'm going to scale everything down.
To about 75% and that's going to give me a
| | 09:15 |
nice even square shape for each of these.
Because you can see that I have four
| | 09:21 |
polygons going across and I only had three
vertically, but those three vertically
| | 09:25 |
were receiving as much vertical space as
the four were saving horizontal space.
| | 09:29 |
So scaling those down to 75% will correct
for that.
| | 09:33 |
Now the next thing I'm going to do is take
this piece and detach it entirely because
| | 09:36 |
I don't want it to be taking up this much
UV space relative to the other pieces.
| | 09:41 |
So, I'm going to use my Move tool and
check tear off and that will allow me to
| | 09:44 |
pull this polygon away.
I'll set my action center back to automatic.
| | 09:48 |
And there we go.
I'm just going to move it off to the side
| | 09:49 |
for right now.
Now, I'm going to do the same thing with
| | 09:52 |
the back face, so the face that's on the
back of the box.
| | 09:55 |
So I'm going to grab that, move it, and
pull it over here.
| | 09:57 |
Now, if I want, I could attach these two
pieces at some point.
| | 10:01 |
For right now, I'm just going to leave
them free, and that way I'll have free
| | 10:04 |
pieces that I can place wherever I need to
in my UV space.
| | 10:09 |
So the next thing I'm going to do is grab
this whole section here.
| | 10:12 |
And I'm just going to go to fit UVs, keep
proportion and click OK.
| | 10:18 |
And now it's going to scale those UVs up
so they fit the whole UV space left to right.
| | 10:24 |
Now if I want to get even better usage of
the space, I could detach ones of these pieces.
| | 10:29 |
And make it free-floating, but for now,
this will do.
| | 10:32 |
I'm just going to grab this and pull it
down.
| | 10:35 |
Doesn't really matter if it's exactly on
the bottom of the UV space, in this case.
| | 10:40 |
I know it's stretching exactly from left
to right, so that's going to fill up all
| | 10:42 |
my space there.
And then I'm going to go ahead and grab
| | 10:46 |
these two pieces, and move them up here
And over here.
| | 10:50 |
And then I've got a little bit better
spacing for my UV.
| | 10:56 |
Now, if you want to use an image that's
not a square.
| | 10:59 |
So, instead of, for example, 2048 by 2048,
if you want to use an image that's 2048 by
| | 11:04 |
only 1024 high, then you can take all of
these pieces.
| | 11:10 |
And I'm going to scale them down just a
little bit here, and I'll just do it all
| | 11:12 |
uniformly for now.
And I'll take them so that they all fit
| | 11:17 |
underneath this 0.5 line.
And if you zoom in a little bit farther
| | 11:22 |
you can more easily see okay here's 0.4,
here's 0.6, there's the 0.5 line.
| | 11:27 |
So if I scale everything down a little bit
I can fit it into there exactly.
| | 11:33 |
Now this might be another case where I
might want to detach another polygon and
| | 11:36 |
I'll just move that over here for right
now.
| | 11:39 |
And then I can again get a little bit
better usage of my UV space.
| | 11:48 |
So by adjusting your position and mainly
your scale So that you're giving more
| | 11:52 |
importance to the key pieces and less to
the unimportant pieces or the pieces that
| | 11:55 |
are going to carry less weight in
texturing, rather.
| | 12:00 |
You can more properly optimize your UV's.
I often find that it's a good idea to have
| | 12:06 |
one UV map where everything is included.
So maybe we would take something like this
| | 12:11 |
and use Pack UVs, we'll allow to orient
and stretch and move everything around.
| | 12:16 |
And then, it's going to use up all your
spaces best as it can and keep everything even.
| | 12:20 |
And then, another UV, where you have this
importance given, so that as you go
| | 12:24 |
through creating and painting your
textures, you'll have everything taken
| | 12:27 |
into account.
But then when you go to (UNKNOWN) you can
| | 12:31 |
have everything evenly placed...
We'll be using UV's that are both evenly
| | 12:37 |
spaced and space based off of importance
as we continue to create textures.
| | 12:44 |
So proper control of your UV's is very
important, as you move on in the texturing
| | 12:49 |
process for your product visualizations.
| | 12:54 |
| | Collapse this transcript |
| Advanced UV mapping| 00:02 |
When you create more complex models, you
also have the need for creating more
| | 00:05 |
complex UV maps.
And in this video, we're going to have a
| | 00:08 |
look at creating a UV map for something
more complex, namely this helmet model
| | 00:11 |
that's been sculpted and retopologized.
So we're going to hop over here to the
| | 00:16 |
model view and have a lot at what we've
got.
| | 00:19 |
So, there is a series of, kind of, inner
rims running all around different sections
| | 00:24 |
of the model here.
So I'm going to go ahead and select these
| | 00:28 |
and actually let's go ahead and turn on
our Symmetry.
| | 00:32 |
I'm just going to select a couple of
polygons and press L to select the Loop,
| | 00:35 |
and we'll just work our way around here.
Basically what we're going to be doing
| | 00:41 |
here is offsetting the different sections
of this helmet model.
| | 00:46 |
So that we can more easily create the UV
map and more easily just kind of control
| | 00:51 |
what we're working on.
Because working on a UV map like this if
| | 00:56 |
you try to bite it off all in one big
chunk it just gets really out of hand
| | 00:58 |
really quickly.
And it makes it frustrating and difficult
| | 01:03 |
to work on, so, we're going to break this
down, so that it becomes a more manageable
| | 01:07 |
model to UV map.
Let's see if we have everything selected.
| | 01:13 |
It looks like we've got a couple more open
spaces here in the front, select those.
| | 01:19 |
And now I believe we should have
everywhere selected.
| | 01:23 |
Okay, so I'm going to go ahead and assign
a material to this.
| | 01:28 |
I'll press M and I'll call this Ridges.
It's going to be the inner kind of ridges
| | 01:34 |
that will wrap around between everything
else that's there.
| | 01:38 |
One thing that I'm going to do here for
right now, is I'm actually going to Cut
| | 01:41 |
these out and then just Paste them back
in.
| | 01:44 |
And the reason that I'm doing that is so
that I can more easily select the interior
| | 01:47 |
and the exterior.
So I'm going to press M, and we'll call
| | 01:51 |
this, Interior.
Mm, 'kay, and even if I want, I could go
| | 01:55 |
over and use my lists here, go by
Polygons, and sort these by Material.
| | 02:02 |
And I'm going to go ahead and add the
ridges to my selection.
| | 02:05 |
And then press the open bracket key to
invert my selection, and that will give me
| | 02:09 |
the whole exterior which I will now press
M and call exterior.
| | 02:13 |
So in order of importance really, we want
to give the exterior shell the most UV space.
| | 02:21 |
This is going to be the area that's going
to carry any graphics, any painting.
| | 02:25 |
The inner section here that has these ribs
is really just going to be kind of a tiled
| | 02:28 |
texture, so we're not going to need a
whole lot of UV space for that.
| | 02:34 |
And then the interior part is probably
just going to be kind of a solid color,
| | 02:37 |
and so we're not going to worry about too
much UV space.
| | 02:41 |
We'll just kind of fit that in where we
have space in the UVs.
| | 02:45 |
So, with that said, let's hop over to the
UV, and we will start with our ridges.
| | 02:51 |
So what I'm going to do is double-click on
the outside, and double click on the
| | 02:55 |
inside, and press H to hide those.
And now I've got all of these different
| | 03:00 |
ridges in here ready to be UVed.
And I'm going to use a really handy tool
| | 03:05 |
for this, and that's called the UV Peeler.
So, UV Peeler works this way.
| | 03:09 |
If I go in here and select one edge, in
this case I'm selecting the one right in
| | 03:13 |
the middle of this forward section here.
And I press UV Peeler and then click, it's
| | 03:19 |
going to distribute this entire strip of
polygons.
| | 03:23 |
And if we look here, we can go ahead and
start selecting it and see that it's just
| | 03:26 |
selecting the entire thing, as long as I
get in close enough to select it all.
| | 03:31 |
You can see it's selecting all of that,
and I've missed a couple of polygons going there.
| | 03:35 |
So you see, if I go back over there a
little closer in, you can see that.
| | 03:39 |
Now, one thing of note here is that there
are a few settings that can change the way
| | 03:44 |
that you work with the UV Peeler.
So, I again activate UV Peeler and click
| | 03:50 |
in the View port, you see that I have kind
of these little x's.
| | 03:55 |
And I can take these to adjust the
vertical amount of UV space that these are
| | 03:58 |
taking, or the horizontal amounts.
So, if I want to move this around and this
| | 04:03 |
way, I can do that.
Of, right now, I'm going to leave it
| | 04:05 |
taking up the whole screen.
We're going to end up giving at the top
| | 04:09 |
section of the UV, when we layout
everything together.
| | 04:12 |
But for now, we're going to leave
everything kind of overlapping inside of
| | 04:14 |
UV space.
I do have a few options here where I can
| | 04:18 |
set the Maximum, Minimum UV's.
It's not basically going to be the same as
| | 04:23 |
moving these handles, but doing it on a
little bit more controlled level.
| | 04:27 |
You can see I get exact numeric placement
of those.
| | 04:30 |
I know if I want my Minimum vertical to be
just right here towards the top of it, I
| | 04:34 |
can move this all the way up to like
something around, say, 0.75.
| | 04:39 |
And then I know it's only taking up the
quarter of this UV, so let's go ahead and
| | 04:42 |
Undo that.
And then some other options that I have
| | 04:45 |
here is for uniformity.
And this one you have to be a little bit
| | 04:48 |
careful with, because it's going to
straighten everything out.
| | 04:52 |
And we'll put it right up to 100%, so that
you can what's going on.
| | 04:56 |
And it's just going to give me a really
even, smooth layout of Polygons, and this
| | 05:00 |
can be really really good.
Mf you have even polygons around the
| | 05:05 |
perimeter of your mesh, then this is going
to work really well.
| | 05:10 |
In some cases, however, you'll have big
changes in polygon sizes.
| | 05:13 |
So, for example, say, this polygon versus,
smaller one, like that polygon.
| | 05:19 |
You don't necessarily want them to take up
the same amount of UV space.
| | 05:23 |
in this case, I'm going to tile an image
all the way around, so that won't really matter.
| | 05:27 |
And in this case, I'm just going to go
ahead and use this Uniform mode.
| | 05:32 |
For some of the other smaller sections, I
might not want to do that, but for this
| | 05:35 |
case I'm going to just leave it as is.
And what you can do here is go ahead and
| | 05:39 |
double click on a section and press H to
hide it.
| | 05:43 |
And then I can just go on and move on
through my UV space, so for this one, I'm
| | 05:47 |
going to take just kind of a discrete
little corner.
| | 05:51 |
Just going to be right down here.
And again, I'll run the Peeler, and click.
| | 05:57 |
And it will keep my last settings, so,
with that done I can just double-click on
| | 06:02 |
that and press H.
Except one thing to note here is that if
| | 06:07 |
you run this on symmetrical polygons, it's
going to do it only on the side that you
| | 06:11 |
actually clicked on the edge.
So, Something to be aware of, in this case
| | 06:16 |
I only ran it on the left hand side.
And when I go to select and hide this its
| | 06:20 |
going to select the right-hand side as
well.
| | 06:23 |
So, I'm going to make sure that I turn
symmetry off, and then I'm going to hold
| | 06:26 |
Ctrl and I'm going to double-click on
that.
| | 06:29 |
And so then I can hide that one and move
on.
| | 06:32 |
That's all we're going to do here for this
one.
| | 06:34 |
We'll jump forward and you'll see those
all completed up in the top corner here in
| | 06:37 |
a moment, but lets go ahead and now Hide
those.
| | 06:40 |
And I'm going to Unhide everything.
See we have our nice little UVs already
| | 06:44 |
down here, and I'm going to take these and
I am going to do as I mentioned and move
| | 06:48 |
those up.
we'll just give them about the top 30% or
| | 06:52 |
so of this, and now I'm going to go ahead
and work on the exterior shell.
| | 06:57 |
So, I'm going to select that, press
Shift+H to hide everything else, and now
| | 07:01 |
I'm going to use the Unwrap Tool.
And to get a good unwrap using the Unwrap Tool.
| | 07:07 |
You'll want to think about separating your
Mesh into kind of chunks that are facing
| | 07:11 |
similar directions.
You don't have to do it entirely that way.
| | 07:16 |
There can be some wrap definitely on
these, but you'll want to try and
| | 07:19 |
compartmentalize that a bit in order to
fit it in.
| | 07:22 |
So I'm going to go up here and go to my
Edges mode.
| | 07:25 |
And I'm going to start selecting edges
that will kind of break up the shape here.
| | 07:31 |
So I'm going to go right in here, and
actually, I'm going to go ahead and turn
| | 07:34 |
my symmetry back on in this case.
I'm going to go right through here, and
| | 07:38 |
I'm going to select this edge.
And what that's going to do is that's
| | 07:41 |
going to cut off this section from this
section.
| | 07:44 |
Anywhere you select an edge with the UV
Unwrap Tool, it's going to essentially
| | 07:48 |
work like a knife blade.
So I'm going to select that part there,
| | 07:52 |
and, I think I'm going to go right here
this time for that.
| | 07:56 |
So now that's got this entire top section
is all completely separated.
| | 08:01 |
We got the large island here with these
little legs coming off, on the side and
| | 08:05 |
the front.
And now I've got the front section here,
| | 08:08 |
which is going to wrap around.
And at the moment it's going to wrap up
| | 08:12 |
and down and then back, all the way around
and just be kind of, bit of a big mess.
| | 08:17 |
So, I'm going to want to cut this off in a
couple of places.
| | 08:21 |
So, by adding some edges there, I've got
that part sectioned off.
| | 08:25 |
So that this back centerpiece is its own
section, and then I'm going to come down
| | 08:29 |
here and select these little pieces right
there.
| | 08:33 |
And that will now leave me with this
section here, (SOUND), this section here
| | 08:38 |
which is all one piece that wraps around
the middle.
| | 08:43 |
And in the top, the top back, and then
kind of the back sides here.
| | 08:49 |
So I'm going to go ahead and hit the
Unwrap Tool.
| | 08:51 |
Make sure that my initial projection is
set to Group Normal.
| | 08:54 |
And that's just going to let each
individual piece be projected from the
| | 08:57 |
average direction that all the polygons
are facing.
| | 09:01 |
So I'll go ahead and click OK in there.
And you'll notice this is working all
| | 09:05 |
right for the most part, and as I increase
the iterations it's going to get better
| | 09:08 |
and better and better.
But it's going to have a hard time with
| | 09:12 |
one little chunk in here and that's going
to be this section right here.
| | 09:18 |
And so, what we'll have to do is kind of
manually unfold this part in order to get
| | 09:22 |
what we want.
So once again I'm going to turn Symmetry off.
| | 09:26 |
And I'm going to select a nice little
chunk towards the top here.
| | 09:30 |
And then I'll just continue moving down
with my selection.
| | 09:34 |
And you might get some points where you're
hitting the overlap, and that's when you
| | 09:38 |
can actually just hop over into 3D space.
And continue making your selections.
| | 09:42 |
So, I'm just going to remain kind of in 3D
space since I have so much overlap with my
| | 09:48 |
UV down there.
You want to refrain from using some of the
| | 09:53 |
expanding selection options.
Like holding the Shift key and pressing
| | 09:57 |
the Up Arrow.
Mostly because that's going to select more
| | 10:00 |
than you want it to in UV space, so that's
something that you need to be careful about.
| | 10:05 |
So I'm going to select this whole section
here and I really need to do is kind of
| | 10:08 |
rotate this so that it kind of flips out.
So I'm going to set my Action Center to Automatic.
| | 10:14 |
I'm going to make sure I'm in my UV view
here, press the E key for the Rotate Tool.
| | 10:20 |
And I'll click down here at the bottom to
recenter my handle, and we'll just rotate
| | 10:25 |
this up.
So that it fits, and I think I'll about
| | 10:29 |
about 30 degrees, ought a do that, and I
can do the exact same thing here on the
| | 10:34 |
other side.
So let me go ahead and select all of this,
| | 10:40 |
all of this, and then over in 3D space,
select all of this stuff.
| | 10:47 |
Let me make sure that I have this inner
rim selected here.
| | 10:57 |
And that last little polygon right there.
We'll do the same thing here.
| | 11:03 |
I'll press the E key, click down here, and
I'll rotate this one back out, and I'll
| | 11:06 |
try to go about the same amount, so about
30 degrees, and there we go.
| | 11:10 |
So now all I need to do is kind of pack
everything into the same place.
| | 11:16 |
If you hop over here and look at the
helmet model complete LXL, you'll see that
| | 11:20 |
we have the UV map all completely
unwrapped.
| | 11:24 |
And let's go ahead and select our Mesh
item here.
| | 11:30 |
So you can see I've got the top section
here is all of my inter-ribbing areas.
| | 11:36 |
I gave it a little bit more space in this
version.
| | 11:39 |
And then, I've got my whole exterior here,
set into just those four large islands.
| | 11:47 |
You can see those separated out there.
I can hide those, so you can see.
| | 11:54 |
Then we have all of our ridges, which I'll
go ahead and select here.
| | 11:58 |
I can just press H to Hide those.
And then I've got just the interior, which
| | 12:01 |
is broken up into a similar amount of
islands, but I've just kind of scaled them
| | 12:04 |
smaller and packed them in more tightly.
And then you put that all together, and
| | 12:11 |
you have one nice, complete UV map that
will allow you to Paint on this.
| | 12:16 |
And add any kind of graphics that you'd
want to using the 3D Painting Tools.
| | 12:21 |
So breaking up a really complex model to
UV map is just a case of taking a little
| | 12:24 |
piece at a time.
And it's kind of eating a way at it until
| | 12:28 |
you get one complete unwrapped UV model.
And then you can always go in and stitch
| | 12:33 |
some pieces back together if you want to
gain more continuity.
| | 12:37 |
But for the most part this should be great
for working with a 3D Painting Tools
| | 12:40 |
inside of Moto.
| | 12:42 |
| | Collapse this transcript |
|
|
3. Working with Texture LayersLayering texture basics| 00:02 |
Layers are a method for creating complex
textures inside a Modo.
| | 00:07 |
With the basic material, you can easily
create shaders that have the appearance of
| | 00:11 |
opaque, or transparent, or translucent
objects.
| | 00:14 |
You can control specularity, reflectivity,
and all of that sort of thing.
| | 00:19 |
Now, with layers, you can actually go in
and take any individual component of your
| | 00:23 |
material and break it out, and get precise
control of it using either an image-based
| | 00:27 |
texture or a procedural texture.
If you'd like to follow along with me, you
| | 00:33 |
can choose the texture start LXO file from
the chapter three folder.
| | 00:38 |
And in there you will see a simple cube
Sitting on a ground plane.
| | 00:43 |
The cube has a basic material applied, and
that is a sort of semi reflective dull
| | 00:48 |
glossy black finish.
And there are also some hidden layers up
| | 00:52 |
here which we'll look at.
In order to create a, a nice deep texture
| | 00:57 |
for this and add some detail and Control
over individual areas of the surface,
| | 01:03 |
layers are used to do that.
You can see that I have a diffuse color, a
| | 01:09 |
specular color, a bump map, specular
amount, specular fresnel and roughness.
| | 01:14 |
Now, notice that there is that thing under
the reflective channel.
| | 01:18 |
And that's because in my base material, I
have matched specular turned on.
| | 01:22 |
And that means that anything that goes
into the specular channel be it a mount,
| | 01:25 |
color fresnel, all of those things will
route back to the reflective channels as well.
| | 01:30 |
So, let's have a look at how this texture
builds up when we add on the individual pieces.
| | 01:35 |
So, here's the diffused color, and with
that added on, you can see that we get the
| | 01:38 |
video2brain logo popping up on all three
visible sides of this cube.
| | 01:42 |
It's also on the other three sides, we
just don't see them at the moment.
| | 01:46 |
And then if we add on the specular color,
you'll notice that the reflections in the
| | 01:50 |
specularity get a much deeper sends to
them.
| | 01:54 |
This adds a lot of crispness to the
texture overall, and makes the colors pop
| | 01:57 |
and appear more vibrant by making those
reflected areas reflect something more in
| | 02:01 |
line with the basic color.
If you look at the base material, the
| | 02:05 |
specular color is just white.
So, that's why with that off, we get kind
| | 02:09 |
of a dull white sheen over everything.
With that on you can get much more
| | 02:14 |
richness of your colors.
Then there's also a bump map, which if we
| | 02:19 |
look at the image is essentially the
video2brain logo with the individual
| | 02:22 |
triangles have been broken out into
medium, light gray, and then white colors
| | 02:27 |
so that we get a stair-stepping effect.
So, if we close that you can see a real
| | 02:33 |
light stair-stepping up of those colors
there.
| | 02:37 |
There's also a specular amount which is
going to control the actual amount of
| | 02:41 |
specularity and reflectivity.
You can see that it didn't cause much
| | 02:45 |
change in the base black here, but it
gives me a little bit more pop in my
| | 02:49 |
reflections here on the triangles and also
on the video2brain text.
| | 02:54 |
And that just gives the appearance of
something like a gloss coat that's been
| | 02:57 |
applied to the material if you were going
to actually have this printed.
| | 03:02 |
We also have a specular fresnel, which is
going to further increase that at the
| | 03:06 |
incidence angles.
So, at the angles where the box is facing
| | 03:09 |
more perpendicular to our view, we're
going to get an increase.
| | 03:14 |
And that texture layer just has the values
boosted so that as the faces approach
| | 03:18 |
perpendicular to our viewpoint, they will
increase the amount of specularity and
| | 03:22 |
reflectivity, and give us a bit more of a
realistic look at our material.
| | 03:28 |
And then the last one here is roughness.
And what that roughness does is modulates
| | 03:33 |
the amount of blur that is contained in
this material.
| | 03:36 |
Since the base material has blurry
reflections turned on, that roughness will
| | 03:40 |
control not only the specular roughness.
So, how broad the sheen is off of the main
| | 03:45 |
light source, but also how dull and how
blurred out the reflections are over the
| | 03:49 |
surface of the object.
Now, you could take these two images and
| | 03:54 |
create a really a great number of
textures.
| | 03:57 |
See, all that I have here is a color
image, which is the one that you see here
| | 04:00 |
on the box, both as the diffuse color and
the speculative color.
| | 04:04 |
And then the grayscale one that is applied
to the bump, specular amount, specular
| | 04:08 |
fresnel and roughness.
Now, I could also take this bump map and
| | 04:12 |
change it to a displacement map.
If you have clean geometry or if you're
| | 04:16 |
modeling in Sub-D, you can pretty easily
use a displacement map.
| | 04:20 |
And since the background is all back, it's
not effecting any of this box around the corners.
| | 04:25 |
Its only displacing where I have the text
and then the three step part of the
| | 04:29 |
triangles in the logo.
So, all together those pieces will come
| | 04:34 |
together to create a good, deep and
vibrant texture.
| | 04:37 |
And those are the basics that you'll use
to create any complex texture inside of Modo.
| | 04:45 |
| | Collapse this transcript |
| Color vs. value textures| 00:02 |
In modo there are two basic types of
texture layers that you'll have to deal with.
| | 00:07 |
One is a texture that has to do with color
and will have red, green, and blue
| | 00:10 |
channels that go together to create a
finished color look.
| | 00:14 |
This would be something like the color
that you see on the logos here across this object.
| | 00:19 |
The other type of color is a value based
color.
| | 00:23 |
And value based colors are simply a single
value that goes from say zero to 100, can
| | 00:27 |
also be scaled beyond that.
And that will be the kind of texture layer
| | 00:32 |
that will handle things like bump map,
displacement.
| | 00:35 |
Anything that's based off of percentage,
as opposed to being based off of a color.
| | 00:40 |
If we just look here at this simple
material reflectivity settings, you can
| | 00:43 |
see that Diffuse amount is a percentage,
so that's going to be a value.
| | 00:46 |
Diffuse color is a color, so that will be
a color texture.
| | 00:49 |
Another value, Value value, anytime you
see Specular Color or Reflective Color.
| | 00:54 |
If we flip over to our Transparency
settings, Transparent Color, Subsurface Color.
| | 00:59 |
Those are going to be color based textures
and they will have three components, the
| | 01:03 |
red, green and blue.
Whereas the other ones that are
| | 01:06 |
percentages or simple numerical values,
those are the ones that will be controlled
| | 01:10 |
by a single input.
And let's have a look at how these
| | 01:14 |
actually apply inside individual texture
layers.
| | 01:19 |
So, I'm going to start here by putting a
Noise layer over the top of all of this.
| | 01:24 |
And let's go ahead and hide everything
else so that we just have a nice clean
| | 01:28 |
material to work with.
So, right now that noise is applied to the
| | 01:33 |
Diffuse Color, and if I look at my noise
channel here, my textured layers.
| | 01:39 |
You can see that I have a Color 1, which
is my black and a Color 2, which is my
| | 01:43 |
white color.
If I change one of these, let's change the
| | 01:47 |
white to something like this magenta
color.
| | 01:51 |
You could see that that's affecting the
color across the surface of the object.
| | 01:56 |
And I'll, likewise I can go in and change
another value here on my black and change
| | 02:00 |
it to something like this that will give
you a nice headache.
| | 02:04 |
(LAUGH) And you have now a magenta to blue
noise.
| | 02:08 |
Let's take this and we're going to pull
those back to their default values.
| | 02:13 |
Now, if I were to take this exact layer
and change it to a bump map.
| | 02:17 |
You can see that I have this real fine
surface bump running across the entire thing.
| | 02:22 |
To make that a little bit more pronounced,
I'm going to go ahead, go down to the
| | 02:25 |
material and I'm going to increase the
bump amplitude.
| | 02:29 |
Just so that we can see it here.
Let's set it up to 35 millimeters.
| | 02:33 |
That's a little bit more obvious.
Now, if I go back up to my Noise layer and
| | 02:38 |
select that.
And make a change to something like my
| | 02:42 |
color 2 there which let's take a pull all
the way down to black.
| | 02:45 |
See nothing happens to the bump map
itself.
| | 02:48 |
And that's because of this color 2 and
this color 1 don't drive bump because it
| | 02:52 |
is a value-based texture.
And it's pretty obvious when you're
| | 02:56 |
working with a procedural texture here.
Like this noise layer because you can see
| | 03:01 |
you have Value 1 and Value 2, which are
set to zero and 100% respectively.
| | 03:07 |
Let's go ahead and put our color 2 back up
so we have again black to white.
| | 03:10 |
So we have kind of the default settings.
But if I take Value 2 and I pull that down
| | 03:14 |
to 0%, now you can see the texture across
the surface of the cube is completely smooth.
| | 03:22 |
That's because it's going from 0% to 0%.
Now, as I increase this, you'll see little
| | 03:27 |
bits of textures start to appear.
And this would be something akin to taking
| | 03:31 |
the texture color and decreasing the white
or increasing the black.
| | 03:37 |
In order to get a closer, less contrasty
appearance.
| | 03:41 |
So we're just getting less contrast in our
bump map here.
| | 03:44 |
Now you can take this and overdrive this
number.
| | 03:46 |
If I could set it up to 250%, for example,
you see that the texture becomes very rough.
| | 03:50 |
At this point, a bump map probably will
start to break down and not really be
| | 03:54 |
ideal for what you're looking for.
But you can see that I can definitely
| | 03:59 |
overdrive this material.
Now I can also overdrive it into negative
| | 04:04 |
values so if I put Value 2 back down to
100%.
| | 04:07 |
I can take Value 1, pull it into
negatives, say 100%.
| | 04:11 |
And again we're getting a much deeper
texture because we're getting more contrast.
| | 04:16 |
Instead of going from zero to 100% we're
going from negative 100% to positive 100%.
| | 04:22 |
And this kind of thing you will see pretty
frequently used with things like
| | 04:25 |
displacement maps.
Where you'll go from a negative value to a
| | 04:29 |
directly correlating positive value so
that zero lines up in the middle.
| | 04:35 |
Now, what you can use a 50% grey to be a
static appearance where it's not going to
| | 04:40 |
affect the surface of your object.
If you go into anything less than 50%
| | 04:45 |
gray, it will indent the surface.
And when you go above 50% gray, that will
| | 04:50 |
extrude the surface outwards so you get
kind of more of a possibility of depth.
| | 04:56 |
If you're dealing with just zero to 100%
with the displacement map, then you can't
| | 05:01 |
go anywhere beyond the basic.
If it's black, it's at the level that it
| | 05:06 |
exists at and you see on your model and
you get increasing values that go up.
| | 05:11 |
But if you go back beyond the negative,
you can actually get indentation and
| | 05:15 |
extruding on the same surface.
So, these values, while they're very
| | 05:20 |
simple, can really help drive a lot of
different textures on an object.
| | 05:25 |
Anything, like I said previously, that
isn't a color, like Diffuse color or
| | 05:30 |
Reflection color, or anything like that,
Specular color.
| | 05:34 |
If it's not one of those, it's going to be
driven by a value.
| | 05:37 |
So, I could change this to any other
parameter if it says amount, or if it just
| | 05:41 |
doesn't say the color it's going to give
me that amount.
| | 05:45 |
Reflection for an L for example is a
value.
| | 05:47 |
Refraction Roughness is a value.
Roughness in general is to value.
| | 05:51 |
So, all of those things will be governed
by this negative, set that back to zero,
| | 05:56 |
by default zero to 100% value.
Now, the same thing applies to image maps,
| | 06:02 |
let's go ahead and hide that.
And I'm going to go here to my video2brain
| | 06:07 |
logo that I've got.
And you can see that the background is
| | 06:11 |
black, and that it has color in each of
these, and then I've got white through the text.
| | 06:18 |
Okay, you can see the effect that this
has.
| | 06:21 |
Right now I have my displacement set to
draft.
| | 06:25 |
So they're going to be really low quality.
But it'll give me a good fast redraw.
| | 06:29 |
But if I take this, and let's go to my
Texture layer, I can see that I have a low
| | 06:35 |
value and a high value.
And these values are going to govern the
| | 06:40 |
way that the displacement works, just like
they did on a procedural texture.
| | 06:45 |
So it shows up in a slightly different
place with an image map, but It will give
| | 06:50 |
you the same end effect.
So, if I take, for example, my high value
| | 06:55 |
from 100% up to 250%, we'll see that the
surface gets extruded much more.
| | 06:59 |
And just so we can see this a little bit
more cleanly, I'm going to go ahead and
| | 07:03 |
turn off Draft Displacements.
It'll take it a little bit longer to
| | 07:06 |
refresh here but we'll get a better idea
of what's actually going on.
| | 07:10 |
So you can see, because I have this black
area and then the lighter colored areas.
| | 07:14 |
Were getting this kind of raised surface
coming up, whereas the black is just
| | 07:18 |
staying the same.
If however, I were to set my high value to
| | 07:24 |
zero and my low value to negative 100,
we'll see that the surface is actually
| | 07:31 |
pulling inwards.
You can see here how this is pulling in.
| | 07:39 |
And this is actually probably not ideal in
this case because I'm going from black, so
| | 07:42 |
it's going to pull in all my corners.
But if I were to take this and put this at
| | 07:46 |
zero, and take my high value and
essentially invert this to put it to
| | 07:49 |
negative 100%.
You see now that my text is just going to
| | 07:53 |
inset and now we're kind of debossing the
surface here.
| | 07:59 |
So all of those things are possible using
your value based textures.
| | 08:03 |
And your color-based textures then will
apply to all of your color attributes of
| | 08:07 |
your material, your Diffuse, your Specular
and Reflective colors.
| | 08:12 |
Also apply to your transparent colors and
your sub surface colors.
| | 08:16 |
Put those all together and that will help
you create more deep textures.
| | 08:20 |
And also help you to understand how those
textures are being created with your
| | 08:25 |
different layers inside of modo.
| | 08:29 |
| | Collapse this transcript |
| Basic procedural textures| 00:02 |
Procedural Textures are mathematically
generated textures that use algorithms to
| | 00:06 |
create different colors across the surface
of an object.
| | 00:10 |
Now, usually when you think of this, the
simple example would be something like
| | 00:13 |
Photoshop clouds, which can be duplicated
relatively closely by the Noise Procedural Texture.
| | 00:21 |
That just gives you kind of this general
random noisiness.
| | 00:23 |
This doesn't really denote the depth and
complexity possible through Procedural
| | 00:27 |
Textures, because there are procedural
textures with much more control inside of Modo.
| | 00:34 |
Now, I can however take this single Noise
value and do quite a bit with it.
| | 00:39 |
If we go, and select the Noise and go to
our Texture Layers, you can see that I get
| | 00:43 |
my initial values zero to 100%.
If it's going to be a value-based texture,
| | 00:47 |
this is a color because it's set to
diffuse colors.
| | 00:53 |
So, I've got my Color 1 and Color 2 set to
black and white.
| | 00:58 |
I can change the type of fract.
I can go with Simple, which is just
| | 01:01 |
going to be a very, very basic kind of
undulation between the two colors.
| | 01:05 |
Fractal which is a little bit more in
depth, and the Turbulence which is
| | 01:09 |
going to be something more like Difference
clouds in Photoshop.
| | 01:14 |
Just go back to Fractal for now, so, we
can see this.
| | 01:17 |
I can control the number of frequencies,
higher frequencies is going to mean more complexity.
| | 01:22 |
The ratio between the Frequencies, all
those kind of similar things that you
| | 01:25 |
would expect to find in the, the control
of a Procedural Texture that is based off
| | 01:29 |
of you know, these simple values.
So, I can play with those and get a lot
| | 01:35 |
out of them.
All of these textures are also going to
| | 01:38 |
contain a bias and a gain.
So, Bias is going to make us lean more
| | 01:43 |
towards the dark as we pull it up or the
Color 1 or the value one.
| | 01:49 |
And as we pull it down in percentage, it's
going to lean the texture more towards the
| | 01:53 |
Color 2.
And also the Gain, which is essentially
| | 01:56 |
the contrast between the two.
Turning this down is going to make a much
| | 02:00 |
more smooth surface that kind of blurs
between the colors, and turning this up is
| | 02:04 |
going to give me something much more
contrast-y.
| | 02:08 |
If we get up even higher, we'll be looking
at something kind of like you know, a cow
| | 02:11 |
kind of texture.
But this kind of level of Procedural
| | 02:16 |
Texture really just scratches the surface
as to what is possible using Procedural
| | 02:20 |
Textures inside of Modo.
If we look here under Add Layer and pull
| | 02:25 |
down the Textures, you'll see a list of
the very basic ones.
| | 02:29 |
And these are useful, but very simple in
their construction.
| | 02:33 |
There is a Cellular one, which if I pull
up you can see just gives me kind of these
| | 02:37 |
veiny type of lines through the surface.
If I right click on here also I can choose
| | 02:43 |
Change Type and then I can just go in, and
just pick a different one.
| | 02:47 |
There's a Checkerboard pattern, there's
Dots, there's a Simple Grid, there's the
| | 02:50 |
Noise that we've already looked at.
There are ripples which drop in there and
| | 02:55 |
you can see kind of gives the idea of like
pond ripples from multiple sources.
| | 02:59 |
And you can change the number of sources.
You can say, right now we're set to eight sources.
| | 03:03 |
you can set the wavelength and the phase
and whatnot.
| | 03:06 |
And actually these can be animated to give
you the idea of ripples moving across the surface.
| | 03:12 |
It's a little hard to see in preview, but
you can change that relatively easily.
| | 03:17 |
And key frame that so that you get
animated ripples.
| | 03:22 |
Another one that's relatively useful here
in the basic textures would be the Weave texture.
| | 03:27 |
And if I look at this here, by default,
it's just set to a solid projection.
| | 03:32 |
I'm going to go to the Texture Locator and
change that to a Cubic, so that it appears
| | 03:35 |
on all the faces here.
And then I'm going to increase the size.
| | 03:40 |
Now, remember that if you want to increase
the size of something evenly across the
| | 03:44 |
surface, you can enter some
multiplication.
| | 03:48 |
So, let's say, times five, hold Ctrl and
then press Enter, and it's going to
| | 03:52 |
multiply everything evenly.
So, as a diffuse color, it's not super,
| | 03:57 |
super useful.
However, if we apply this to a Bump or a
| | 04:01 |
Displacement Channel, you can get
something much nicer.
| | 04:04 |
So, I'll set it to Bump and we can kind of
see the idea here.
| | 04:08 |
And if I set it over to Displacement, this
isn't a sub D mesh, so, it's going to pull
| | 04:11 |
apart a bit at the edges, but you can see
really start to get the woven texture
| | 04:15 |
really start to appear very nicely.
Now, one of the extra controls that you
| | 04:21 |
get in here is Yarn Width and Roundness,
so, this is going to be something specific
| | 04:24 |
to this texture.
And this is going to be something common
| | 04:28 |
to all Procedural Textures.
They'll have kind of a basic set of
| | 04:30 |
controls that will be about the same.
And then they'll have a few custom
| | 04:34 |
attributes that you can use to really fine
tune these.
| | 04:37 |
Now, if I take the Yarn Roundness, if I
take this here and decrease it, let's go
| | 04:41 |
down to say 10%, we'll see that the tops
of these pieces actually flatten out.
| | 04:48 |
So, lower roundness is going to equate
with something like you know, a woven basket.
| | 04:55 |
Whereas a higher value is going to give
you something more like, something that's
| | 04:59 |
actually woven with thread.
So, let's set this up to, we'll go all the
| | 05:03 |
way up to 100%, and you'll see that these
get much much more roundy.
| | 05:09 |
Now, what you would want to do however,
I'm not going to do it here because it
| | 05:11 |
gets a little bit hard to see on this
cube, would be to decrease the size.
| | 05:15 |
Because typically when you're doing
something like woven yarn, you're looking
| | 05:18 |
at a tighter weave, something like a
basket that's going to be a larger weave.
| | 05:22 |
But you can get creative with how you use
something like this, and actually get
| | 05:26 |
something that's very, very useful in your
finished texture.
| | 05:31 |
Now, if I take this here and I set this
back to my diffuse color, you also notice
| | 05:35 |
that I have these black and white areas.
And these can be very useful if you want
| | 05:41 |
to create some holes in your pattern.
So, if I want to change this and use it to
| | 05:47 |
mask out this surface.
First, I would want to take that Yarn
| | 05:51 |
Roundness and turn it down to something
like, maybe all the way down to zero.
| | 05:57 |
And now, you can see it's giving me more
black areas and less grey scale in the middle.
| | 06:06 |
And instead of Diffuse Color, I'm going to
go down to the Special Effects and change
| | 06:11 |
it to Stencil, and then Invert it.
And now, we actually have these holes in here.
| | 06:16 |
So, if I were to take this and duplicate
it, and change this one to Displacement.
| | 06:23 |
And set my Roundness back up again.
Now, you can see that I start to get the
| | 06:28 |
idea of this woven basket that actually
has you know, physical construction to it.
| | 06:36 |
So, you know, this kind of thing can save
you a lot of modeling time, if you have
| | 06:40 |
something that would need something like a
woven texture.
| | 06:44 |
Now, this is just one example.
There are lots other Procedural Textures
| | 06:47 |
that we will help you create really
complex surfaces, and even the appearance
| | 06:51 |
of mottled surfaces, without having to
actually and create the model of something
| | 06:55 |
like this basket weave on the top.
So, simple Procedural Textures can help
| | 07:01 |
you create good in-depth materials, and
also help you even in your modelling process.
| | 07:06 |
| | Collapse this transcript |
| Advanced procedurals| 00:02 |
Modo opera's a large set of advanced
procedural textures that can be used to
| | 00:07 |
enhance the look of your 3D objects.
These are found under Add Layer > Enhance
| | 00:13 |
> Modo Textures.
And you can see there is a list of
| | 00:17 |
categories, and within each of these there
are individual sets of procedural textures.
| | 00:24 |
We can look here and see the Dirt
procedural texture, applied to the Diffuse
| | 00:28 |
Color layer of this material.
You can see that it offers multiple layers
| | 00:34 |
of noise that are blended together to
create a more deep and complex fractal pattern.
| | 00:41 |
This is going to be less recognizable than
a typical noise pattern and will allow you
| | 00:46 |
the ability to create more in depth and
more organic looking materials.
| | 00:53 |
This same texture applied to the Diffuse
Amount channel, will allow you to get a
| | 00:57 |
more broken up and organic feel on a
simple basic material that is applied to
| | 01:01 |
this cube.
You can use this as an overlay over any
| | 01:06 |
other materials that you've created, to
help add extra interest and organic depth
| | 01:11 |
without having to go in and paint those
things by hand.
| | 01:16 |
You can also take this and apply it to the
Roughness channel, to break up the level
| | 01:20 |
of blur in the reflection of this
material.
| | 01:24 |
In order to get a good idea of the
possibilities, you can go to the Help menu
| | 01:28 |
and choose Inline Help System which will
take you to the Modo Help System.
| | 01:34 |
In herer you can either follow the path,
Shade Light and Render, Shader Tree items
| | 01:39 |
and E-modo Textures or simply type in the
keyword search E-modo textures in order to
| | 01:44 |
get a good list of the available textures.
And all the different sub categories,
| | 01:51 |
Geometric, Noise, Organic, Skins, Tiles
and in other various things that are offered.
| | 01:58 |
This will just give you a good idea of
what the basic look of each category is
| | 02:02 |
and from there, you can go in and further
adjust these texture layers to get the
| | 02:06 |
look that you're going for.
One important thing to note is the fact
| | 02:13 |
that many of these materials base off of a
similar group of parameters.
| | 02:19 |
So, you can see here within the Dirt
texture, we have a type of noise which
| | 02:23 |
you'll get this basic list in all of
these, Enhanced pearl and Gradient value, etcetera.
| | 02:31 |
And then you'll get frequency modulations
and magnitudes, and these will alter the
| | 02:35 |
depth and appearance of your texture.
And then you'll also get a group of output
| | 02:39 |
controls, so Upper and Lower Clipping
which will allow you to bracket in the
| | 02:43 |
high and low values.
Biasing and Gain, that will adjust your
| | 02:47 |
contrast and also weighting of your
texture and then Foreground and Background
| | 02:52 |
colors and alphas.
These will be common to all the different
| | 02:56 |
types of enhanced mode or textures, and
so, once you've worked with a few of them,
| | 03:00 |
all of them will appear to be relatively
familiar and comfortable.
| | 03:05 |
If we look at the plating example, you can
see that there is a set for plates, which
| | 03:11 |
I am going to turn on as my diffuse color.
And you can see this has a nice, broken up
| | 03:20 |
grid that is based off of a simple,
geometric grid and then is using this
| | 03:25 |
Plate Disturb function to break up and add
smaller pieces into the plating.
| | 03:35 |
Now, one thing that's important to notice
is with my Plate Seed set to 500 and my
| | 03:39 |
Plate Disturb set to 25 percent, I can use
other sections within this group.
| | 03:45 |
So, if we go to panels, you can see
there's Peel Plates, Rivet Rust, Rivets,
| | 03:49 |
Rust, Smear and those will all be based
off of the same simple kernel.
| | 03:56 |
So, if we look at the rivet section, this
has Rivets filling the entire object.
| | 04:03 |
But, if I go into the options, I can turn
off draw all Rivets, and it will just give
| | 04:06 |
me the borders.
Now, if you pay attention, you'll notice
| | 04:10 |
that these Rivets are following the same
grid patterns as the previous texture with
| | 04:15 |
just the plates.
So, if I add the plates back in, you can
| | 04:19 |
now see that you have this good randomized
distribution of plating, with also a
| | 04:23 |
randomized distribution of individual
Rivets that are going around the edges of
| | 04:27 |
the plates.
So, this kind of interaction and
| | 04:33 |
similarity between the groups of enhanced
modo textures will allow you to create
| | 04:38 |
texture sets, that have more depth than
just using individual texture layers alone.
| | 04:45 |
You can see that see that this Rivet layer
is set to Blend mode of subtract, and
| | 04:50 |
that's going to darken up the areas where
those Rivets are.
| | 04:55 |
If I remove the Plates layer, you can see
that it will just darken the underlying color.
| | 05:01 |
With all of the depth and complexity
available, in enhanced modo textures, you
| | 05:05 |
can often find, many of the pieces that
you need, to create good, deep textures,
| | 05:09 |
without having to hand paint, or photo
source a lot of the layers.
| | 05:15 |
This will help you get your textures done
more quickly and also give them a nice
| | 05:18 |
organic touch.
| | 05:20 |
| | Collapse this transcript |
| Image-based layers| 00:02 |
Image based textures will give the perfect
ability to edit pixel by pixel the details
| | 00:06 |
on the surfaces of your 3D models.
But it's important to know how to control
| | 00:11 |
these images both inside and outside of
Modo.
| | 00:15 |
You can see here we have this cube with a
few different layers of textures.
| | 00:20 |
Two of these layers are based off of a
color texture.
| | 00:23 |
So you can see here's the color logo.
And the other layers are based off of a
| | 00:28 |
gray scale texture.
You can see that this is a variation on
| | 00:32 |
the logo with the increasingly light areas
of triangles and then the white logo.
| | 00:38 |
Now, it's important to have these these
two different textures in order to
| | 00:42 |
properly address the color and value based
layers within our material.
| | 00:47 |
Now, if we were to take, for example, just
a simple color texture and apply it to a
| | 00:52 |
value-based layer, the result would be
something less than ideal.
| | 00:57 |
So, let's go ahead and take this
displacement layer.
| | 01:00 |
And I'm going to change it from the gray
to the regular logo color.
| | 01:05 |
You can see that with this done we get
some strange overlapping happening with
| | 01:09 |
the displacement on the triangles.
Let's hop over to Photo Shop and see why
| | 01:14 |
this is.
If we look at this texture with a color
| | 01:17 |
base interpretation, it simply takes the
color values and apply them to the surface.
| | 01:24 |
But when looking for a value, all that
Modo can see is the Brightness values.
| | 01:29 |
In other words, if we were to go to our
images, and, take our, Saturation and pull
| | 01:34 |
it all the way down, this is all that Modo
can see.
| | 01:38 |
So you can see that we have the lightest
area in the center section, and then kind
| | 01:42 |
of decreasing areas as the overlapping
happens in the different colors, have
| | 01:46 |
different levels of brightness.
This may or may not be what you want.
| | 01:53 |
So it's important to know that if you have
different values within your red, green or
| | 01:57 |
blue channels that you want to use for a
value-based texture, you would need to go
| | 02:02 |
and separate those out in order to use
them within Modo.
| | 02:08 |
Another thing that you can do is to use an
alpha in your texture in order to get an
| | 02:12 |
extra layer of control within your image.
I have a V2B_Logo_Deep texture.
| | 02:20 |
It's a Targa file.
I'm going to open that up, and you can see
| | 02:24 |
that I have the same red, green, and blue
channels.
| | 02:27 |
But, then, I also have an alpha, which is
the edited version of the logo that has
| | 02:31 |
the stair stepping of the triangles.
If we click back over to Modo, and I'm
| | 02:37 |
going to select this Displacement layer,
and I'm going to change the image, and I'm
| | 02:43 |
going to load in (BLANK_AUDIO) that deep
logo texture that has the alpha channel.
| | 02:55 |
You can see that at default, it's going to
use the brightness values on the color.
| | 03:00 |
But with this texture, since I have the
alpha channel, if you look down at the
| | 03:03 |
bottom of the texture, you can see that
there's an alpha channel section.
| | 03:07 |
And right now, the alpha channel is set to
use.
| | 03:11 |
You can also choose to ignore the alpha
channel or use only the alpha's.
| | 03:15 |
So, if I click over to Alpha Only, you'll
see that I get back to where I wanted it
| | 03:18 |
to be with the stair-step approach.
If you do this with your textures and you
| | 03:25 |
use a texture format for your images, that
is capable of supporting an alpha channel,
| | 03:29 |
you can include an entire extra, layer of
possibilities within your image-based textures.
| | 03:37 |
This can make it so that you don't need to
use multiple different images in order to
| | 03:42 |
get the desired results.
So, for example, I can change all of these
| | 03:48 |
value-based textures to that deep texture,
and then go down and change my alpha
| | 03:54 |
channel to Alpha Only, and I could go to
my two color-based textures, and also
| | 03:59 |
change those to my other texture.
So you can see that using that single
| | 04:07 |
image, I still get to have my color based
textures, but at the same time, I still
| | 04:10 |
get the depth with that extra layer to
control the value based textures.
| | 04:18 |
You may notice that the texture looks a
little bit washed out once I've applied
| | 04:22 |
the image to the color channels.
And that's because that alpha channel is
| | 04:26 |
now being blended into the black
underlying texture.
| | 04:29 |
So, if I go down here and change my alpha
channel from Use to Ignore, you can see
| | 04:33 |
that the color vibrance bounces back up,
and I get back to where I expect to be
| | 04:36 |
with kind of a texture.
Another option that you have with using
| | 04:44 |
image based textures is the Antialiasing.
Now, when you're using a finished render
| | 04:49 |
with Antialiasing, you will actually be
anti-aliasing a texture twice.
| | 04:54 |
So in a lot of instances, it's a good idea
to take your Antialiasing and disable it,
| | 04:59 |
especially for color-based textures.
However, when you're using this textures
| | 05:05 |
in other capacities the Antialiasing can
offer some extra functionality.
| | 05:10 |
For example, if we look at this minimum
spot setting, on this Texture layer, which
| | 05:14 |
is my displacement layer, it's set to 10.
And the effect of this is actually
| | 05:19 |
something similar to a simple Gaussian
blur.
| | 05:23 |
So if I take this and set it back to 1 and
we look here, notice that this edge gets
| | 05:28 |
to be very rough and jagged and sharp.
You can also see it here along the logo text.
| | 05:35 |
And this isn't exactly what I was going
for with this.
| | 05:39 |
Now I could go into Photoshop, create
another version of the texture that has
| | 05:42 |
everything blurred a little bit, so that I
get a little bit more rounding on my
| | 05:46 |
displacement instead of a sharp drop off.
But instead of doing that I can actually
| | 05:51 |
control that right here inside of Modo.
This is going to be another way to allow
| | 05:56 |
me to use less textures, take less memory
footprint, but also have more control at
| | 06:01 |
the same time.
By increasing this to something like 10,
| | 06:05 |
you can see that we start to get a little
bit more of a rounded off appearance, and
| | 06:08 |
that's going to be more consistent with
what I want.
| | 06:12 |
If I take it and increase it even farther
to something like 50, you'll notice that
| | 06:16 |
it starts to really soften up the edges of
this embossing effect.
| | 06:21 |
So, here along the video2brain text, you
can see that it really rounds off farther
| | 06:25 |
and it gives the appearance of a wider
emboss.
| | 06:29 |
In this case, that isn't what I'm looking
for but in some instances that might be
| | 06:32 |
something that I would want.
So, for this one, I'm going to take it and
| | 06:36 |
turn it back down to ten.
Properly using image-based textures will
| | 06:41 |
allow you to have good control and
flexibility without constantly bouncing
| | 06:45 |
back between your image editor and Modo.
And at the same time, this proper usage
| | 06:50 |
will allow you to use less textures,
decrease your memory foot print, and get
| | 06:54 |
better render times for your finished
images.
| | 06:59 |
| | Collapse this transcript |
| Layer gamma| 00:02 |
Image Gamma Correction, is one of those
topics that I see come up lot and it gets
| | 00:05 |
a lot of confusion and mistreatment in
general, becoming something that people
| | 00:08 |
avoid because they're worried about
messing it up.
| | 00:12 |
It's really a simple thing once you look
at how it's actually working.
| | 00:16 |
Now if we look at this.
Image here, our logo.
| | 00:19 |
This is our color image, and it's coming
in straight from Photoshop.
| | 00:23 |
This one is a TARGA file, and you can see
that I have my gamma set to 0.4545.
| | 00:29 |
Now, if I set my gamma up to 1, you can
see that my image becomes quite washed
| | 00:33 |
out, and the reason for that is when I
save this image out of Photoshop, if we
| | 00:37 |
look over here, we'll just do a save as.
You can see that I have the embedded color
| | 00:45 |
profile of SRGB at 2.1.
Now, a typical SRGB is going to be, a lot
| | 00:49 |
of times, 2.2.
Just off my monitor, it's 2.1.
| | 00:53 |
So I actually have this corrected to 2.2
in Moto.
| | 00:56 |
But we can look and see what's going on
here.
| | 00:58 |
And what you can do is simply take your
gamma here.
| | 01:01 |
1.0 and divide it by 2.2.
Or in this case 2.1.
| | 01:06 |
So I had .4545.
It's actually .4762 but, you know, very close.
| | 01:11 |
Usually if I had a 2.2 coming in, it would
be .4545.
| | 01:15 |
But the reason that this is an issue is
because when Modo renders, let's go ahead
| | 01:19 |
and just fire off our render here.
It's rendering at a 2.2 output.
| | 01:31 |
So what you're seeing is, your seeing the
color correction happening as the image
| | 01:34 |
comes in.
And if you're keeping it at 1.0 you're
| | 01:37 |
essentially saying you'll be at 2.2 or 2.1
in this case.
| | 01:41 |
And then when it renders it's correcting
it back to 2.2 so that's going to increase
| | 01:44 |
those values.
So when I render, I just have to remember
| | 01:48 |
that Modo by default is saving this at
2.2.
| | 01:52 |
And now I can change this to a 1.0 in my
Preferences.
| | 01:55 |
I can simply go up to Preferences and,
Rendering, and you can see, here is my
| | 02:02 |
display gamma and my default output gamma,
both set to 2.2.
| | 02:09 |
Now, I can change those to 1.0.
For what I do, I typically am setting
| | 02:13 |
output to monitors, so 2.2 is going to
work fine for me.
| | 02:17 |
If you're going through a linear workflow,
where you want everything to be at 1.0,
| | 02:20 |
it's a good idea to set this down to 1.0,
and then just work with your images that way.
| | 02:26 |
But the changing of this gamma, is
going to be something you'll still wants
| | 02:30 |
to do, because otherwise, your going to be
double gamma correcting, color correcting
| | 02:33 |
your images.
They'll get color corrected, when you
| | 02:37 |
bring them in and then they'll be color
corrected when you export and render and
| | 02:40 |
so you get it stacked on top of another.
So, the easy and quick solution for this,
| | 02:44 |
is just.
Take your gamma of 1.0, divide it by
| | 02:47 |
whatever your gamma is outputting, you can
check it in Photoshop.
| | 02:51 |
And then you can just divide it, so you
know, again, I can just take one divided
| | 02:55 |
by 2.1 or 2.2 if that's what you're coming
out as.
| | 03:00 |
You get your finished color here, and it's
going to become more like what you would
| | 03:03 |
expect with your image, as opposed to just
leaving it at 1.0.
| | 03:08 |
Or you're going to get something very
washed out, and the general quick rule of
| | 03:11 |
thumb for spotting this is if it looks
washed out, divide the 1.0 in your gamma
| | 03:15 |
by the gamma that your image has if you
check it in Photoshop.
| | 03:20 |
It will give you the desired results and a
nicer looking finished image.
| | 03:25 |
| | Collapse this transcript |
|
|
4. Advanced Shader Tree OptionsTexture layer blending| 00:02 |
The concept of blending layers for your
materials inside of Modo is very similar
| | 00:06 |
to layer stacking inside of Photoshop.
Here I have a very basic scene.
| | 00:11 |
If you'd like to follow along, you can
open up can model texture start and you'll
| | 00:14 |
have this simple scene here with a ground
plane to catch the shadow.
| | 00:19 |
You have a base paint layer which is what
you see on the can.
| | 00:22 |
Right now it's kind of just a shiny, white
paint, and then underneath that there is a
| | 00:27 |
blurred metallic aluminum.
Really simple base metal.
| | 00:31 |
And we can use these to explore some of
the possibilities for layer blending.
| | 00:36 |
What I'm also going to look at here is
over in Photoshop.
| | 00:39 |
I have this Photoshop file that has a
simple label mock-up, and I've used the
| | 00:44 |
UVs on this in order to line up my pieces
with the individual parts of the model.
| | 00:51 |
If you need to export your own UV, you can
just go in to Texture > Export UV to EPS.
| | 00:57 |
Right now, I don't have one selected but
if you have a UV selected you can export
| | 01:01 |
that as an EPS then bring it right into
Photoshop and (INAUDIBLE) relatively
| | 01:04 |
quickly and easily.
Just go ahead and hide that and here you
| | 01:09 |
can see the basic layout that I've done.
So, this is going to be if I can turn my
| | 01:13 |
UBs back on this is the main part of the
can Up here on the upper left is the
| | 01:16 |
bottom of the can, and since I want this
to keep the black color, I've got a black
| | 01:20 |
square around that bottom part and the top
part will be white as well as the tabs.
| | 01:27 |
And then I have all my logo work and
everything going down the middle of the can.
| | 01:31 |
I have things separated into a folder here
where I have my logos, and underneath that
| | 01:34 |
I have kind of, the splashes and the
general basic color, and then I have these
| | 01:38 |
other logos on the left hand side.
So, let's go ahead and close that, and
| | 01:44 |
we'll save this, and I'm going to go over
here to my Finder.
| | 01:48 |
And I'm just going to start by grabbing my
can layers PSD file, that's the one we
| | 01:52 |
were just looking at.
And I'm going to drag it into here, it's
| | 01:56 |
going to land above everything else.
Now, by default, this isn't applying to
| | 02:02 |
the correct UV map.
So, that's why, here, when we drop it in,
| | 02:05 |
at first, we don't see anything really
happening.
| | 02:09 |
Now if I'd had the UV selected when I
dropped this in it would go right through it.
| | 02:13 |
But if I go to the texture layer and then
my projection type, which is set to UV
| | 02:16 |
map, and then I can just select change
from texture to the can full UV.
| | 02:21 |
And that's the UV that we were looking at
inside of Photoshop.
| | 02:23 |
And this will all get dropped right on top
of there.
| | 02:26 |
Now, because this is a very reflective and
not very diffuse texture, you see that
| | 02:30 |
everything gets pretty much washed out.
And that's because we're only getting
| | 02:34 |
about a 20% diffuse and the rest is going
on the reflective color, which is just a
| | 02:38 |
simple color.
So, I turn on the paint layer, which is on
| | 02:42 |
top of the base metal layer.
You can see that everything becomes a
| | 02:47 |
little bit more clear.
That's because, on this one, we're looking
| | 02:50 |
at 80% diffuse and just a little bit of.
Reflectivity in similar for now, that's
| | 02:55 |
giving us a better view of the texture by
itself.
| | 02:59 |
Now the other thing you might notice is
that the colors are a bit washed out, so
| | 03:03 |
I'm going to go down here, and change my
Gamma, you know that I'm using a Gamma of
| | 03:06 |
2.1 out of Photoshop, so I'll just divide
by 2.1, and there we go.
| | 03:11 |
And we have our colors back the way we
would expect them.
| | 03:15 |
So if we want this to be able blend
differently we need to know how blending
| | 03:18 |
is going to work.
So by default this is going to drop in as
| | 03:22 |
a normal blend mode so just a completely
opaque texture.
| | 03:26 |
It's coming in as the diffuse color.
And it is just going to override all of
| | 03:30 |
the diffused that is underneath which is
why when we turn off the paint layer, it's
| | 03:34 |
overriding the diffused that's underneath
but all of the reflectivity and all the
| | 03:38 |
other things are not changed.
So if I take this and right click and
| | 03:44 |
change it to my specular color can see
that we have the coloration here now.
| | 03:51 |
I'm going to go ahead and duplicate this.
And change this one to my diffuse color.
| | 03:57 |
And now you can see we have the general
properties of this base metal in the white areas.
| | 04:04 |
But then we have all of the coloration of
our logos on top of that.
| | 04:08 |
So even though I have these layers
overriding.
| | 04:13 |
Everything underneath.
They're only overriding the specular
| | 04:15 |
color, which is also the reflective color
in this case, because I have Match
| | 04:18 |
Specular turned on, and then the defuse
color.
| | 04:21 |
So anything else, we look down here, our
specular amount, our defuse amount, our
| | 04:26 |
roughness, nothing else is being
overridden by this because the can layers
| | 04:31 |
don't affect those particular channels.
So it adds an extra layer of
| | 04:37 |
dimensionality beyond what you would get
in Photoshop.
| | 04:40 |
Because in Photoshop everything just
blends directly on top of what's underneath.
| | 04:45 |
Now this stacking only overrides what's
underneath and what is in the same
| | 04:49 |
material channel or the same effect.
You can see the effect column here.
| | 04:53 |
So only diffuse color and diffuse specular
are being overridden.
| | 04:57 |
If I change and override any other layer
then I'll also get that effect happening.
| | 05:01 |
Now lets go back to Photoshop here and for
right now I'm going to hide my background
| | 05:05 |
that has the back and white, the splashes
and all that.
| | 05:10 |
Then I'm going to go ahead and save this
Photoshop document and then just hop back
| | 05:12 |
over to in the model.
You can see it's going to tell me that my
| | 05:15 |
document has been updated so we'll just go
ahead and let it update.
| | 05:20 |
And now you can see that because that
Photoshop document has transparency built
| | 05:24 |
into it.
We can see through what were those black
| | 05:27 |
and white areas.
So if I go to the base metal and do
| | 05:31 |
something like change the specular color
to, oh, let's make something obvious like
| | 05:35 |
blue, you can see that the blue shines
through.
| | 05:40 |
And I'll do the same with the diffuse
color in this case, make them both blue so
| | 05:42 |
we get a really saturated blue can.
You can see that transparency is coming
| | 05:46 |
through perfectly.
This can be a very powerful option.
| | 05:51 |
Because you can use transparent blending
the same way you would in Photoshop.
| | 05:55 |
Now, if I look over my Photoshop you can
see anywhere I've got my transparent grid,
| | 05:58 |
that's areas that are going to shine
through.
| | 06:01 |
And this will give you the possibility of
blending together multiple pieces right
| | 06:06 |
inside of Modo.
This also gives you the option of doing
| | 06:09 |
things like placing and assembling your
individual pieces.
| | 06:13 |
Without having to worry about where they
are in relation to each other in the
| | 06:17 |
abstracted uv space, but you can see how
they are directly in 3d space.
| | 06:23 |
So if I go back over to my Finder, and you
can see I have a target file here that
| | 06:27 |
just has my black and white splashes, so
let's go ahead and take this.
| | 06:33 |
And drag it right there underneath can
layers, and right now it's set to diffuse
| | 06:38 |
color, so I'm going to duplicate it and
this one I'm going to set to my specular color.
| | 06:45 |
And now you can see I have my layering
back, as I would expect, but just so you
| | 06:49 |
can get the idea here, if I go up to my
texture locator.
| | 06:53 |
And let's say I want let's see here maybe
I want this splash that's coming up here
| | 06:57 |
going behind those logo triangles maybe I
want that to just kind of end just to the
| | 07:02 |
right of them.
And since this is using a UV map I can
| | 07:07 |
just offset it.
So here let's go ahead and maximize this
| | 07:10 |
view and you can see I have my UV tile
offset.
| | 07:13 |
So U is my horizontal and V is my
vertical.
| | 07:16 |
So if I drag this number up, you can see
that the splashes are going to change position.
| | 07:23 |
So it looks like I'm not going to need to
go very far, maybe an offset of about 0.05
| | 07:27 |
and now those splashes come right up to
the right hand side of that logo and end there.
| | 07:33 |
So you can use this to very powerfully
assemble your labeling and your Product
| | 07:38 |
shots right inside of 3D space.
It doesn't require you to do any direct
| | 07:44 |
painting or anything like that, you can
just change your UB offsets, and you can
| | 07:47 |
really simply place and organize your
objects in your 3D scene.
| | 07:53 |
This is great in the prototyping stage
when you're starting to lay things out,
| | 07:56 |
instead of seeing how things are
completely in flat space in Photoshop.
| | 08:01 |
You can see how they are directly in 3D
space.
| | 08:04 |
This will allow you to quickly and easily
see how your objects will display your
| | 08:08 |
textures your labels and your designs
right in 3D space.
| | 08:13 |
| | Collapse this transcript |
| Instancing layers| 00:02 |
Once you start having more complex
materials, with multiple layers affecting
| | 00:06 |
multiple different material attributes, it
can start to be cumbersome to make
| | 00:10 |
adjustments to all of them, and then keep
those adjustments propagated throughout
| | 00:14 |
all the different duplicated layers.
This is where instances become a very
| | 00:20 |
powerful tool for working with your
materials.
| | 00:23 |
You'd like to follow along, you can open
up the Can Model Texture Instances file.
| | 00:27 |
And you can see here, I have the two
layers for my logos, I have the two layers
| | 00:30 |
for my splashes, and those are each
affecting Diffuse Color and Specular Color.
| | 00:35 |
So what I'm going to do is take my
Specular Color ones here, and I'm just
| | 00:38 |
going to delete those right now.
And then I'm going to select my Diffuse
| | 00:42 |
Color ones.
Right click, and instead of duplicating
| | 00:46 |
them, I'm going to create instances for
both of these.
| | 00:49 |
And you can see that these are both
italicized.
| | 00:51 |
That means that it's an instance of a
parent layer, and it's going to be the
| | 00:54 |
layer with the same name here.
So, I'm also going to take these and
| | 00:58 |
change them now to specular color.
And now we're pretty much back to where we
| | 01:02 |
had started, but now we're dealing with
instances instead of duplicates.
| | 01:07 |
And that means that I can do things like
make adjustments.
| | 01:10 |
To something like my gamma, and I'm
going to pull my gamma back up to 1.
| | 01:16 |
And it's made the same change on my gamma
for my specular color here.
| | 01:23 |
I can go back here and I can divide by
2.1.
| | 01:28 |
And just going to make the change across
both layers.
| | 01:32 |
Now, with only a couple of layers, this
isn't such a big deal, you can always
| | 01:35 |
click on one layer, control, click on the
other one that's sharing the same image,
| | 01:38 |
and make the changes.
But, many times in materials, you'll end
| | 01:43 |
up with 4, 5, or 6 different layers that
are all dependent on the same Initial texture.
| | 01:49 |
So, making those changes across all of
those can be quite a hassle.
| | 01:53 |
Now, the other thing is that instances are
slightly dynamic and by that I mean, you
| | 01:58 |
can always untie the effect of certain
attributes from the parent.
| | 02:04 |
So, here I'm going to select my specular
color from my logos, the can layers image,
| | 02:08 |
and you can see anywhere I see this purple
color, let me highlight that, you can see.
| | 02:14 |
Driven, and that means that this channel
is driven by an external source.
| | 02:17 |
In this case, its tied to that same
attribute on the parent layer.
| | 02:23 |
Any time you see that purple color that
also means that by making a change to that
| | 02:27 |
attribute, you can untie it from the
original.
| | 02:31 |
So, for example, if I wanted to kind of
wash out my specularity.
| | 02:36 |
I could just take my gamma and increase it
to 1.
| | 02:38 |
It's probably wouldn't be the way you'd
really want to wash it out, but for this
| | 02:41 |
case it will work.
And then I'm going to go ahead and hit
| | 02:43 |
Tab, and you can see that my gamma now
became unhighlighted.
| | 02:46 |
And it's not just a gray constant channel
so it's not being governed by the parent layer.
| | 02:55 |
If I go back to the parent layer here.
You can see that the gamma is still at 0.4762.
| | 03:02 |
So making those changes to the instance
will untie it from the parent layer.
| | 03:07 |
This can be very useful when you're using
something like a black and white, or a
| | 03:10 |
gray scale image as a mask for a texture
layer, or for an entire group.
| | 03:15 |
You can take and invert channels without
having to invert all of your instances, or
| | 03:19 |
you can create an instance where only.
That particular instance is inverted so
| | 03:24 |
that you can flip the effect of the black
and the white pixels.
| | 03:28 |
So, using instances and using them wisely
with being able to untie and tie together
| | 03:33 |
your values, will allow you to more
quickly and powerfully make changes across
| | 03:38 |
your entire material network.
| | 03:42 |
| | Collapse this transcript |
| Layer and group masks| 00:02 |
When dealing with a complex Photoshop
document, it's often very beneficial to
| | 00:05 |
create groups or folders that you can use
for organizational purposes.
| | 00:10 |
This can help you also to manage different
blending modes, and keep your entire
| | 00:14 |
composition tied together.
Now the same thing applies to creating
| | 00:19 |
complex materials inside Modo.
So let's have a look at how we can create
| | 00:23 |
some texture groups and blendings.
That will allow us to add more depth and
| | 00:28 |
complexity to the textures without them
getting out of hand.
| | 00:32 |
If you'd like to follow along you can open
up the can model texture masks file and
| | 00:36 |
that will give you this can with our
multiple texture layers.
| | 00:41 |
All ready to go.
So let's look at how we can use some
| | 00:43 |
groupings and some masks in order to
create a more interesting finished composition.
| | 00:48 |
So let's start here by looking at this
diffused color image which is essentially
| | 00:53 |
just a black and white image.
And black and white images are ideal to
| | 00:57 |
use for masks because the brightness
values directly derive the opacity.
| | 01:04 |
So I'm going to go ahead and close that.
And I'm going to take this diffused color
| | 01:08 |
here and I'm going to create an instance
of it.
| | 01:12 |
And now I'm going to bring back my base
paint color.
| | 01:17 |
So this is just the more glossly paint
finish, and not the rough can material.
| | 01:21 |
So if I take this difuse color duplicate
that I made, and drag it just directly on
| | 01:25 |
top of my base paint so that it's
hightlighted It will create a Mask for
| | 01:29 |
that Layer.
So right now, it's Masking out so that the
| | 01:35 |
black areas are transparent.
In other words, showing the areas underneath.
| | 01:40 |
And the white areas are opaque.
Just like you would expect a mask to work
| | 01:43 |
in Photoshop.
So if I take this an invert it, you can
| | 01:46 |
see now that my white areas are getting
the affect of kind of the brushed
| | 01:50 |
aluminum, whereas the black areas are now
getting the affect of the paint, and this
| | 01:54 |
is also blending directly through where we
have the logos because the splash is a
| | 01:59 |
complete image by itself and its not
reliant on the logos.
| | 02:06 |
If you wanted to create something that
would include those, you could always go
| | 02:10 |
into Photoshop and create a black and
white masked version that would include
| | 02:14 |
this logo elements and mask them out along
with the plashes.
| | 02:19 |
But for this we'll just use it like this,
so now you can see that this layer here is
| | 02:23 |
very effectively allowing me to create a
different mask.
| | 02:28 |
I can also do this in a more complex
manner with groups.
| | 02:32 |
So, I'm going to go up here to add layer,
and I'm going to create a group.
| | 02:39 |
You can see that this group that's created
here, right now it's on top of the base
| | 02:41 |
shader, and I want to drop it right
underneath there.
| | 02:44 |
It's just an empty folder.
And what I'm going to do here, let's go
| | 02:47 |
ahead and Select my can and the tab.
And I'm going to press M to create a new
| | 02:52 |
material and I'll call this can.
And this is going to create another group.
| | 02:56 |
And this group just has, just a basic
white material underneath it.
| | 03:00 |
So now I'm going to start very quickly
organizing this.
| | 03:03 |
So I'm going to take all of my can layers
here.
| | 03:05 |
And I'm going to drag them into there.
And now you can what, have just the can
| | 03:08 |
really basically there.
And now I'm going to take this group here
| | 03:12 |
and I'm going to pull it up inside of the
material for the can.
| | 03:18 |
So, with this group here I can easily
apply entire texture presets inside of my
| | 03:23 |
can material.
Go ahead and make that full size again and
| | 03:28 |
I'm going to go in here and in my
Materials presets.
| | 03:34 |
And I'm just going to scroll down here to
metal and let's open up aluminum.
| | 03:38 |
And I'm going to find a nice, let's go
with oh, brushed aluminum.
| | 03:43 |
Now I'm going to make sure that I have my
group selected here.
| | 03:46 |
And then I can just double click on
Brushed Aluminum.
| | 03:51 |
Now you can see that this entire group now
has all of the properties Of this brushed
| | 03:55 |
aluminum material.
But because this preset material doesn't
| | 04:03 |
have match specular turned on for the
reflectivity, we're only seeing kind of
| | 04:08 |
this washed out.
Little bit of diffuse color, so I'm
| | 04:12 |
going to go ahead and kind of make that
change really quickly.
| | 04:15 |
And I'm just going to select the material,
and you can see match specular is turned off.
| | 04:19 |
So that means that having my diffuse color
and my specular color the same.
| | 04:24 |
Isn't affecting my reflectivity so let's
go ahead and just turn on match specular.
| | 04:27 |
And there you go.
We can see our full colors kind of pop
| | 04:29 |
back in.
I'm just going to reuse this splash's
| | 04:32 |
black and white image and I'm going to
take it and drag it right to the top of
| | 04:35 |
this group.
And you can see that right now it's really
| | 04:39 |
not doing anything, because it's a diffuse
color and it's underneath.
| | 04:44 |
The diffused colors that I have up here,
so it's being overridden by the splashes
| | 04:48 |
that are up on top of it.
Now if I take this however and change it
| | 04:53 |
from diffused color to group mask it will
now mask out this entire group, and this
| | 04:57 |
is a way that you can have complex
interactions between having a bump map,
| | 05:01 |
having diffuse amounts, diffuse colors,
multiple different layers blending together.
| | 05:09 |
In this case, you can see that just for
diffuse amount, I have this new brushed image.
| | 05:14 |
I have an aluminum diffuse map, I have a
gradient, all just affecting the diffuse amount.
| | 05:20 |
And I can have that complex interaction
all within this group.
| | 05:23 |
And then I can mask out.
The entire group using this Mask.
| | 05:29 |
So let's go ahead and select this group,
right click on it, and I'm going to
| | 05:33 |
duplicate it.
And I can say I have the entire group
| | 05:36 |
underneath as well.
I'm going to go ahead and just turn off
| | 05:39 |
the splashes that are underneath.
And now you can see that I've got
| | 05:44 |
essentially, how it looked before having
the group mask on because I'm masking one
| | 05:49 |
group on top of, the same group
underneath.
| | 05:53 |
But I can go and make one simple change by
selecting the material, and taking my
| | 05:57 |
roughness, now let's drop the roughness
down to something really low like 5%.
| | 06:02 |
Now you can see that, the reflective top
areas of the can.
| | 06:06 |
Are becoming much more clear an
reflective.
| | 06:09 |
So I get more of a smooth polished look on
the top, whereas I still have this brushed
| | 06:14 |
look, inside of where the splashed, black
area is.
| | 06:18 |
An just like I did with the layer mask, I
can go up here, select my group mask, an
| | 06:23 |
invert it, an I can flip the effect.
So now I have the more polished look,
| | 06:29 |
happening where the black paint is.
An you can see here if I mouse over this
| | 06:33 |
for a second Can see it's nice and
polished through this area of black where
| | 06:36 |
the the splash is.
And then the top area, it's giving me the
| | 06:41 |
blurred effect.
So just by duplicating my group and making
| | 06:45 |
one slight change, I've given myself a lot
of power over how my different layers are
| | 06:49 |
being interpreted.
You can use this with multiple images and
| | 06:55 |
have multiple group masks on multiple
groups, and create really complex interactions.
| | 07:01 |
Like I could take and make a mask where
just perhaps the video to brain text is
| | 07:05 |
behaving like plain white paint.
And all I would have to do is have A white
| | 07:11 |
area where the text is.
Have a group with white paint.
| | 07:16 |
Apply the group mask, and you're set and
ready to go.
| | 07:18 |
Using group and layer masks you can very
quickly control the behavior of different
| | 07:23 |
complex interactions inside of your
materials.
| | 07:28 |
And that's the start of creating good,
complex, realistic, and fully controllable
| | 07:32 |
materials for your product visualization
images.
| | 07:36 |
| | Collapse this transcript |
| Multilayered materials| 00:01 |
In order to create good complex materials
it's important to realize what order of
| | 00:05 |
stacking you need to achieve the desired
effect.
| | 00:10 |
In this example, we're going to take this
basic can and some of the existing images
| | 00:13 |
that we've already looked at in order to
create a more deep and complex material
| | 00:17 |
where the texture layers interact and
overlap with each other.
| | 00:22 |
Now in this case, I have a good starting
point.
| | 00:25 |
If you'd like to follow along you can open
up the Can Model Complex start file.
| | 00:29 |
And you can see that I have a can and new
material that's applied to the can, and
| | 00:32 |
also to the tab on at top.
And I have three material layers already
| | 00:37 |
in here.
Let's close this up so it's a little bit
| | 00:40 |
easier to see.
I have a matte layer, which has a little
| | 00:43 |
bit of reflection, but it's It's
relatively well blurred here and just gets
| | 00:46 |
a little bit more edge reflection on the
fernell.
| | 00:49 |
I have a gloss material that's shinier,
only has a little bit of blur on the
| | 00:53 |
reflection, just to soften it up a bit.
And there's a little bit heavier on
| | 00:57 |
reflections overall.
And then I have a brushed material, and
| | 01:00 |
this one actually has more inside of it.
It has the different layers controlling
| | 01:05 |
the bump and the diffuse amount and lots
of other things going on underneath here.
| | 01:11 |
What I want to do here is create a can
that has the top section left as this kind
| | 01:15 |
of brushed aluminum material.
The lower section where the splashes were
| | 01:21 |
as kind of this glossy paint material.
And then the logos This, a little bit more
| | 01:27 |
knocked back, blurred, less reflective,
kind of more matte paint version, so I get
| | 01:32 |
less interruption with my logo colors.
And overall, I get to see them a little
| | 01:39 |
more in their true context, so that
they're not encumbered by the reflections.
| | 01:45 |
This will make it so the logos are more
true to form and a little bit easier to read.
| | 01:51 |
So, now what I'm going to do is bring in
some image wraps that I already have.
| | 01:54 |
So I'm going to go into my clip browser.
And I already have my can layers.
| | 01:59 |
Which is everything flattened.
I have my splashes by themselves.
| | 02:04 |
And then I've gone ahead, and I made
another one that's a mask just for the logos.
| | 02:09 |
So I'm going to go ahead and bring in each
of those.
| | 02:11 |
Let's go ahead, Add Layer, and then Image
Map.
| | 02:14 |
Again, I'm going to use the clip browser
and bring in the splashes, and then Add a
| | 02:18 |
Layer again.
Use the clip browser one more time and
| | 02:22 |
I'll bring in this logo mask.
Now I want all of these to have the right
| | 02:26 |
gamma correction, so I'm just going to
Shift, Click on all three of them.
| | 02:30 |
And here on my gamma, I'm going to go
divide it by 2.1, since that's what my
| | 02:34 |
monitor calibration and my Photoshop is
set to.
| | 02:38 |
And that won't make too much of a
difference on the black and white ones,
| | 02:40 |
but on the color one, you can see that it
definitely makes more of a difference.
| | 02:45 |
So now, I'm ready to start creating the
masks, and then after those are created,
| | 02:48 |
we'll go back and add some layers over the
top of everything that will help tie
| | 02:52 |
everything together.
So this logo mask, I want to effect the
| | 02:56 |
matte color here so that I get just this
kind of matte paint.
| | 03:01 |
So I'm going to take this, I'm going to
hide these flashes for now, and I'm going
| | 03:05 |
to drag the logo mask into the mat box
here.
| | 03:08 |
And now I'm going to change this from
diffuse color to groom mask.
| | 03:14 |
And now you can see that I'm already
getting a little bit shinier stuff, but
| | 03:18 |
it's backwards right now, because my logo
mask has my logos as black and my other
| | 03:22 |
area as white.
So I'm just going to go ahead and click invert.
| | 03:28 |
And now you can see that my outside of
parts outside the logos are getting a
| | 03:31 |
little bit shinier.
And, as it comes across the logo here, the
| | 03:35 |
reflections are getting blurred a bit more
and they're more subdued.
| | 03:39 |
So that ones set, now I'm going to take my
splashes and drag it down into the gloss.
| | 03:45 |
And I can see that this one is also
backwards.
| | 03:50 |
I can also use this as the matte on the
brushed.
| | 03:53 |
And actually let's do that so you can see
how it works the other way.
| | 03:55 |
Instead of inverting that one, I'm
going to drag it down to brushed.
| | 03:58 |
And then I'm going to drag the brushed
material up over the top of the gloss.
| | 04:03 |
Now the only problem is that now I have
this set to diffused color, but you can
| | 04:07 |
actually see how this is.
Working with what we have so far.
| | 04:11 |
The mat is up here on top and that's
working and then underneath I have my
| | 04:16 |
basic can paint.
So, what I need to do now is change this
| | 04:21 |
to a group mask and that will give me back
the bottom section, and now what will be
| | 04:26 |
showing through is I open this up.
The black areas will be showing through
| | 04:32 |
and giving way to the glossy paint
underneath.
| | 04:36 |
So let's close that up and hide that for a
second.
| | 04:39 |
Now, one problem that I'm having with this
is the fact that the top section now is a
| | 04:44 |
little bit too metallic.
And it's not carrying enough of that white paint.
| | 04:50 |
So that can be controlled just by creating
an instance in my diffuse color and
| | 04:55 |
setting that to reflective color.
Or in this case, specular color.
| | 05:02 |
You notice that this didn't change and
that's because I don't have a match
| | 05:05 |
specular turned on for this material.
Now occasionally you'll want to make
| | 05:09 |
changes to a material, but you'll want it
to effect all of the material layers.
| | 05:13 |
Because they're some attributes that can't
be controlled with a texture layer, and
| | 05:17 |
we're going to adjust two of those here
right now.
| | 05:20 |
Because I know I'm going to use these.
So I'm going to select all the regular
| | 05:23 |
material layers that I have in my
material, overall here.
| | 05:27 |
And you can see that if I look down here
Match Specular has a question mark and
| | 05:32 |
that means that in some of these materials
is set to on and some it's not.
| | 05:38 |
So I'm just going to click it and then
click again so that I make sure I get
| | 05:41 |
check mark to appear.
And now you can see that my color has
| | 05:44 |
lighten up here and it has gotten to be
more white.
| | 05:48 |
And that's more what I was looking for
here.
| | 05:51 |
Now the other thing that I'm going to
adjust is down on the displacement distance.
| | 05:55 |
You can see right now it's mixed.
And also the bump amplitude.
| | 05:58 |
Now if I wanted to use any kind of bump or
displacement I want these to be tied
| | 06:01 |
together through all the material layers,
so that I don't get any kind of discrepancy.
| | 06:05 |
Wherever my masks are affecting.
So I'm going to set both of these to 30 millimeters.
| | 06:11 |
Because the next thing we're going to do
is add a little bit of a displacement so
| | 06:14 |
that the logos pop out a bit more.
And to do that I can use the same mask
| | 06:20 |
image that I'm using for my matte color.
So I'm just going to right click on that.
| | 06:25 |
Create an instance and I'm going to pull
this instance all the way up to the top.
| | 06:31 |
And then I'm going to right click and
change it from a Group Mask to a Displacement.
| | 06:34 |
And the other thing that I'm going to do
here is, I want to turn on anti-aliasing
| | 06:39 |
for that, so that I can blur it out a
little bit.
| | 06:43 |
I'm going to set my minimum spot to
something like ten.
| | 06:47 |
And then it's going to soften the edges a
little bit.
| | 06:49 |
And then I'm going to do one more thing
and I want to create a clear coat level
| | 06:55 |
that goes over the top of everything.
So what I'm going to do is add one more
| | 07:01 |
layer and under processing I'm going to
add a constant.
| | 07:05 |
And this constant first is going to paint
everything black, but I'm going to change
| | 07:08 |
this to clear coat amount which is under
basic channels.
| | 07:12 |
Clear coat amount and I'm going to set the
value at 100% but maybe just 75%.
| | 07:18 |
And that's going to give a light clear
coat amount that's going to brush over the
| | 07:20 |
top of everything and it's kind of helped
to tie all of the object layers together.
| | 07:25 |
And there you have it.
Now I have a can with three different
| | 07:28 |
levels of material type.
So, I've got a blurred reflection A more
| | 07:32 |
glossy reflection, and a more matte.
There's a displacement that raises up my logos.
| | 07:37 |
Right now I have draft displacements
turned on, so let's go ahead and turn that off.
| | 07:41 |
And it'll take it a second to calculate,
but I'll get better quality on my displacements.
| | 07:45 |
And then on top of everything, I have a
clear coat layer that ties everything
| | 07:48 |
together, and gives it the effect that
there's something that's pulling
| | 07:51 |
everything together.
On the whole surface of the entire can, so
| | 07:56 |
all of those were created with three
different basic sections, so my gloss, my
| | 08:00 |
brush, and my matte.
Colors that override everything
| | 08:04 |
displacement and clear coat that goes on
top of everything, all of it inside of one
| | 08:08 |
neat package, easy to use, and all I have
to do to change this out and give it a
| | 08:12 |
completely different look is replace my
image from my color and my two masks, and
| | 08:16 |
I'm ready to go.
| | 08:21 |
| | Collapse this transcript |
| Presets| 00:02 |
Once you've gone through the work of
creating complex materials.
| | 00:04 |
It's important to be able to save them in
a way that you'll be able to use again.
| | 00:08 |
In this case, this has a relatively
specific UV map.
| | 00:11 |
So it might not be the kind of thing that
I'm going to drag and drop onto a bunch of
| | 00:14 |
different models.
But, if I ever have another can in another
| | 00:18 |
scene where I just want to use this
quickly.
| | 00:20 |
I don't want to have to go fish around,
find the existing can, import it into the
| | 00:23 |
scene, reuse the material, or anything
like that.
| | 00:26 |
I just want to be able to drag and drop my
material right onto it.
| | 00:30 |
So, what I'm going to do is show you how
to create a quick preset.
| | 00:34 |
And see that I have my can new file here,
and creating the initial preset is really,
| | 00:37 |
really simple.
All I do is right click, and choose Save preset.
| | 00:41 |
You can also choose to save preset with
thumbnail, but since I don't have anything
| | 00:45 |
ready for that, I'm just going to save the
preset.
| | 00:48 |
Let's go to Save Preset.
Now inside my materials, which is in my
| | 00:52 |
lexology content file.
You can see I've got sexology content
| | 00:55 |
assets, materials, and then I've got a
V2B, video to brain folder here, and now
| | 00:59 |
I'm going to take and I'm going to create
V2B can, and it's going to make it an LXP file.
| | 01:06 |
So, let's go ahead and hit save.
And now, if I scroll down here, as soon as
| | 01:10 |
that finishes saving, you can see that
inside my folder here, I have this V2B can.
| | 01:15 |
Now, the problem is, I've just got this,
kind of, blank teapot logo.
| | 01:20 |
Now if i want to be able to change this
out, all I have to do is replace it with
| | 01:23 |
an existing image, so I can Right Click
here and I can either choose to replace it
| | 01:26 |
with an icon from an image file, or in
this case I actually already have it.
| | 01:32 |
My last render was on this can, so I'm
just going to right click on here.
| | 01:36 |
Replace icon with my last render, and
there you go.
| | 01:38 |
Now I've got this all ready to go.
So, if I take my can here and let's apply
| | 01:42 |
a new material, we'll just call in v
tubing.
| | 01:46 |
It's just going to be a blank white can.
I'm just going to select the material
| | 01:50 |
folder for the group that I just made.
Double click on this.
| | 01:55 |
And it will drop in my can materials all
ready to go.
| | 02:00 |
Just like I previously assembled them.
All of the different layers are there.
| | 02:04 |
And if you wanted to include any
variations, you can include those with
| | 02:08 |
hidden layers or hidden masks.
And you could really simply switch those
| | 02:13 |
on and off in order to get variations.
Or, you could turn those variations on,
| | 02:17 |
save a new preset and you're ready to go.
Creating these presets will save you a lot
| | 02:22 |
of time, when you're making multiple
scenes that reuse your existing materials.
| | 02:27 |
You can also use them and swap out your
different color and mask layers to create
| | 02:31 |
completely new scenes and new materials.
Based off of the ones that you've already done.
| | 02:37 |
This is a way to really speed up your
workflow, save a lotta clicks and in the
| | 02:40 |
end save you a lot of time.
| | 02:42 |
| | Collapse this transcript |
|
|
5. Polygonal LightingConsiderations for polygonal lighting| 00:00 |
Lighting using polygons or using geometric
lighting is a good way to get nuanced and
| | 00:05 |
realistic lighting into your scenes.
If you'd like to follow along, you can
| | 00:11 |
open up the poly_light_start_lxo file.
And in here you'll see that we have our
| | 00:15 |
can model With just a basic material on
it.
| | 00:19 |
The shadow catcher is transformed into
this simple set with our rolled off backdrop.
| | 00:24 |
And then we also have this light model,
which is just a simple polygon pointed
| | 00:28 |
towards the can.
You can see as soon as I enable that, the
| | 00:31 |
black scene lights up and we get lighting
coming from that polygon.
| | 00:36 |
So, a couple of things to look at when
you're considering doing lighting with polygons.
| | 00:41 |
Now, first of all, if we go to the shader
tree and look at our light material, you
| | 00:45 |
can see that in the material trans, we
have our Luminous Intensity set to 1.
| | 00:51 |
And this is going to be a good place to
keep your Luminous Intensity to get good
| | 00:54 |
lighting without overblowing and causing a
lot of rendering artifacts.
| | 00:59 |
Now, if we also look at this, you can see
that I have a zero diffuse amount.
| | 01:02 |
And there's essentially nothing else going
on with this material.
| | 01:05 |
It's just the simple luminous amount.
And then, you can map a color or an image
| | 01:10 |
map to that.
But keeping it this simple will allow it
| | 01:13 |
to light your scene, without taking up too
much render resources.
| | 01:17 |
Now another thing to consider is how the
scale of lighting affects your scene.
| | 01:22 |
You can see that we have this light here
and it's relatively large compared to the can.
| | 01:25 |
It's several times wider and it's a square
that hangs over the scene.
| | 01:30 |
And based off of that, we get a relatively
nice, clean result on our finished render.
| | 01:35 |
Soft shadows and a good amount of
lighting.
| | 01:39 |
We could always add additional lights to
add more color variations or just
| | 01:42 |
insinuate other parts of the model.
But in this case we'll just look at this
| | 01:47 |
simple single point light.
So if I go to Frame 2, the light is a
| | 01:51 |
quarter the size, so half the size in each
direction, giving it a quarter the total
| | 01:55 |
surface area.
And in order to compensate for this
| | 01:59 |
smaller size, the Luminous Intensity has
to be increased all the way up to 4.
| | 02:05 |
And you notice that the lighting appears
more focused.
| | 02:08 |
Overall is about the same general level of
lighting, but it gets more focused through
| | 02:12 |
some of the hotpot areas here on the edge
of the can.
| | 02:15 |
And then the shadows are definitely quite
a bit sharper, and that's because the
| | 02:19 |
light is coming from a smaller source.
Now the one problem with this is, that
| | 02:24 |
when you drive your Luminous Intensity to
high, you tend to introduce extra lighting
| | 02:28 |
artifacts in the finished rendered.
So, if we look at the Render window here
| | 02:33 |
to, this is the image rendered with the
larger light and the Luminous Intensity
| | 02:38 |
set to 1.
And it's relatively clean, soft.
| | 02:42 |
There's not much in the way of visible
artifacts in the background.
| | 02:47 |
But sets to the smaller size and the
higher illumination, you can see that we
| | 02:51 |
start to get a lot of, kind of, modeled
effect in the falloff.
| | 02:56 |
This is going to cause you to need to
increase the render quality in order to
| | 02:59 |
compensate for that.
So its important to use the size of your
| | 03:04 |
lights to control the brightness and not
just the luminous intensity.
| | 03:07 |
You can think of this kind of like the
lights on a football field.
| | 03:10 |
They have large arrays of a lot of little
lights put together.
| | 03:13 |
In order to get a brighter light, you
would need to have a larger array.
| | 03:17 |
It wouldn't be as simple as just turning
up the brightness on all of the bulbs.
| | 03:22 |
In the case of rendering in 3D, that is
going to cost those artifacts to appear.
| | 03:25 |
So if you want brighter intensity in your
lighting, it's important to consider the
| | 03:30 |
size and not just the luminous intensity.
By bouncing those two things, you'll be
| | 03:34 |
able to get good quality in your finished
renders.
| | 03:36 |
Lighting with polygons can be a very
effective and powerful way of creating
| | 03:40 |
subtle and nuanced lighting for your
product visualization scenes.
| | 03:45 |
It will give you good reflected light
sources that appear realistically on the
| | 03:49 |
surface of your objects that have any
reflectivity.
| | 03:53 |
And it will also give you soft shadows
that have a higher appearance of realism
| | 03:57 |
that will help highlight the details in
your 3D models and textures.
| | 04:01 |
| | Collapse this transcript |
| Using existing models for lighting| 00:02 |
Lighting your scene with geometry can be
as simple as enabling some light based off
| | 00:05 |
of the existing textures and models within
your 3D scene.
| | 00:09 |
In this example, you can open up the
Existing_Poly_Lighting file.
| | 00:12 |
And I'm going to take this cube that we
have and move it just slightly up off the
| | 00:16 |
ground, so that it has a little bit of
space between the ground plane and the
| | 00:19 |
object itself.
And the other thing I'm going to do is go
| | 00:24 |
to the environment and I'm going to hide
the lighting.
| | 00:28 |
And I'm going to set the environment to a
constant black.
| | 00:33 |
And if we turn off the directional light,
you can see that all of the lighting is
| | 00:37 |
now gone from the scene.
In order to get some lighting back we can
| | 00:41 |
use some polygonal or geometric lighting.
I'm going to select the bottom polygon,
| | 00:45 |
press the M key, and I'll just call this
Light.
| | 00:49 |
I'm going to kill the diffuse amounts set
it down to zero.
| | 00:52 |
And then in the Material Trans Properties,
I'm going to go ahead and turn the
| | 00:55 |
Luminous amount up to 1.
Now you can see that we get this little
| | 00:59 |
bit of light kind of coming out from
underneath the edge of the box so if you
| | 01:03 |
wanted to just highlight the area You
could do that by turning on something
| | 01:07 |
simple like this.
If I take the entire object and move it up
| | 01:12 |
a little bit farther, you can see that the
light will spread a little bit further,
| | 01:16 |
and will start to actually reflect onto
the surface of the object.
| | 01:22 |
Now going beyond this, there are some
other options that we can leverage the
| | 01:25 |
existing images inside of this material in
order to get some light out of it.
| | 01:31 |
So I'm going to go ahead and select this
bottom piece here.
| | 01:33 |
And I'm going to return it to the cube
material so that it gets back all of the
| | 01:37 |
texture properties that were inside of
there.
| | 01:42 |
And let's go back in here, and you can see
that we have a couple of images.
| | 01:46 |
We have the grayscale image that has the
varying levels of gray on the triangles,
| | 01:50 |
and in the video to bring text in white.
And then we also have a color logo that
| | 01:55 |
has just our diffused colors and also our
specular and reflective colors.
| | 02:00 |
So we're going to use both of these images
to create Some additional lighting.
| | 02:03 |
Now I'm going to right click and duplicate
the specular color and I'm going to change
| | 02:09 |
the effect to luminous color.
Now since there's no luminous amount this
| | 02:16 |
isn't doing anything yet.
But I can also take, I'll just choose this
| | 02:20 |
bump layer here because it uses that.
Grayscale one, and I will duplicate that.
| | 02:25 |
And I will change this one to luminous
amount.
| | 02:29 |
Now that you can see that we're getting
the text lighting up, and the logo
| | 02:32 |
lighting up as well.
And also if you look underneath, we're
| | 02:36 |
starting to get also the coloration of the
logos instead of just that plain flat light.
| | 02:41 |
But, if you notice, there's no light
falling onto the surface of the box at
| | 02:44 |
all, and that's because the light is
coming from a completely flat area.
| | 02:49 |
In other words it's co-planar, it's along
the same plane as The rest of the surface here.
| | 02:53 |
In order to get more depth out of this, it
would be something like having a light
| | 02:57 |
that is going to be produced from more
than just a flat panel of space.
| | 03:03 |
We want to give a little bit of extra
depth to this area in order to have light
| | 03:06 |
coming from more than just a flat Flat
plain.
| | 03:09 |
So, to do that, we need to add more depth
to the geometry.
| | 03:13 |
We can convert the bump map to a
displacement map to do just that.
| | 03:17 |
So, let's go to this bump map and we'll
change it under Surface Shading to Displacement.
| | 03:24 |
And you can see that.
The text and everything is starting to
| | 03:28 |
come out just a little bit.
And I'm going to increase the depth of
| | 03:32 |
this displacement right now, it's set
relatively low, 10 millimeters.
| | 03:36 |
Let's take this up to 25 millimeters so it
comes out a bit farther.
| | 03:40 |
And now you can see we're starting to see
some of the lighting reflected on the edge
| | 03:45 |
of the box.
And I have the draft mode set on the displacement.
| | 03:51 |
So it's not a very clean displacement.
But you can see here that we're starting
| | 03:54 |
to get a little bit of light produced
across the surface of the object.
| | 03:58 |
I gotta go into the video to brain logo
for the diffuse color, and for the texture
| | 04:03 |
layer, I'm going to increase my low value
which is going to be my black area to
| | 04:08 |
something a little bit higher, like about
20 percent.
| | 04:15 |
And the more that you increase this value,
the more you'll start to see some of the lighting.
| | 04:20 |
Reflect onto the surface of the object.
If we did this with a white colored cube,
| | 04:24 |
you would see more of the light, start to
spill off on here.
| | 04:28 |
As it, we're just getting little bits of
it.
| | 04:30 |
But if i were to take this model and
duplicate it.
| | 04:34 |
Let's go to the items list.
Cube and I'll just right-click and
| | 04:39 |
duplicate it.
I'm just going to take my duplicate and
| | 04:43 |
slide it over to the side here.
And let's give it a little bit of
| | 04:51 |
rotation, and move it back just a bit, so
we can see a couple of different faces in
| | 04:56 |
the scene.
And there we go so we're starting to see
| | 05:01 |
some of that lighting affect the surface
of the objects.
| | 05:08 |
So using images and textures that are
already existing in your scene is a good
| | 05:11 |
way to start adding.
Geometric, polygonal based lighting to
| | 05:16 |
give you some nice effects.
They can be used to accentuate logos or
| | 05:20 |
brand names or they can also be used out
of the view of the scene to just bring a
| | 05:24 |
little bit of light into a dark scene.
| | 05:28 |
| | Collapse this transcript |
| Building simple light objects| 00:02 |
When you're dealing with simple diffused
objects without a lot of reflectivity,
| | 00:06 |
basic polygonal lights can be sufficient
for creating a good in-depth scene.
| | 00:12 |
You can simply place your polygons, apply
some luminous intensity.
| | 00:16 |
And then have good control over your
luminous color that will control the
| | 00:19 |
overall temperature or coloration of your
lighting in the scene.
| | 00:23 |
However, when you start to add in some
reflectivity, which I'll do here.
| | 00:28 |
I'm going to go to the video to bring
texture here that's on the can, and I've
| | 00:31 |
added just a simple material on top.
I'm going to go to the material trans here.
| | 00:35 |
I'm going to turn on Match Specular, and
now you can see that I have some
| | 00:38 |
reflections showing.
This is when basic polygonal lighting can
| | 00:42 |
leave a bit to be desired.
If you'd like to follow along with this,
| | 00:45 |
open up the Light Objects Start file.
And there are a couple of important things
| | 00:49 |
to notice about this file before I
continue.
| | 00:52 |
And the first thing is that it's been
scaled down to a more exact size.
| | 00:56 |
Previously, the can had been relatively
large.
| | 00:59 |
And if you're dealing with just polygonal
lights, that isn't going to make much of a difference.
| | 01:04 |
But when you're dealing with complex
interactions between traditional CG lights
| | 01:07 |
and polygonal lights, the actual scaling
of the scene is very important.
| | 01:11 |
So in this case the can is more can sized,
whereas before it was about two stories high.
| | 01:16 |
And the other thing is that I have also
added in another model file which we'll
| | 01:19 |
see here in a moment.
So, with that reflectivity turned on we
| | 01:24 |
can see now that our Simple shape of our
polygon kind of starts to show through here.
| | 01:30 |
So if we go over to items and we hide that
light, scene should go black.
| | 01:35 |
And I'm going to turn on this umbrella.
And there are a couple of changes I'm
| | 01:39 |
going to make right off the bat here
before we even start looking at this.
| | 01:43 |
And you can see here is our umbrella light
object.
| | 01:46 |
And when you're dealing with simple
models, All that you need to remember when
| | 01:49 |
you're creating these models is what
you'll be seeing is the reflection of them.
| | 01:53 |
So really it's the profile that matters.
In this case, what we'll be seeing is the
| | 01:57 |
overall octagonal shape of the umbrella
and then the fact that there is this kind
| | 02:00 |
of dark center that's going to be where
the bulb would be housed.
| | 02:06 |
This is also broken down into two
distinct.
| | 02:08 |
Materials, so there's a backing material
which is going to be these polygons that
| | 02:12 |
are facing towards the model here.
And the polygons that would be facing
| | 02:15 |
towards the umbrella that would be the
bulb, those have a secondary material on them.
| | 02:21 |
So lets go in here we can look and see we
have.
| | 02:23 |
The bounce, which is going to be the
actual umbrella.
| | 02:27 |
We have the bulb, which right now is
turned off, and I'm going to go ahead and
| | 02:29 |
open that up, because that's the first
thing that we'll change, and then we have
| | 02:32 |
the base, which is going to, just going to
be this black, slightly reflective,
| | 02:35 |
blurred reflective material.
So if you happen to see it in a
| | 02:39 |
reflection, it's going to look a little
more realistic.
| | 02:41 |
So let's go over to the render tab.
And you can also see that I have a
| | 02:45 |
spotlight housed in there.
We'll get to that in a moment, for the
| | 02:49 |
time being I have that disabled.
So I'm going to go to my material trans
| | 02:53 |
now for that bulb material and I'm
going to change my luminous intensity up
| | 02:56 |
to one.
And with that you can see the bulb lights
| | 03:00 |
up, and essentially what's happening is
going to be hitting the umbrella and then
| | 03:03 |
bouncing back down into the scene.
Now, if you set this up on your own you
| | 03:07 |
might notice that initially you won't get
anything happening, and that's because
| | 03:11 |
we're basing off of multiple bounces now.
If I turn my global illumination indirect
| | 03:16 |
bounces to the default of one.
You'll see that my scene goes entirely black.
| | 03:21 |
I get a little bit of reflection but
that's all.
| | 03:23 |
Because that one bounce is taken up by the
light coming from here, from our bulb
| | 03:27 |
hitting the umbrella and then stopping.
Now with a extra bounce turned on, so we
| | 03:32 |
string that up to two, now you can see
that we actually get some light coming off
| | 03:35 |
of that.
We can make this larger now so you can see
| | 03:38 |
the preview a little bit better.
Now at default it's going to be relatively dark.
| | 03:44 |
And if I go back here to my bold material
I can always crank up this luminance intensity.
| | 03:50 |
But there is a problem with that.
And the problem is the same with using any
| | 03:54 |
polygonal lining.
Is it's going to start to introduce more
| | 03:56 |
noise if you get That setting too much
higher.
| | 03:59 |
So if I get that somewhere where I'm
comfortable, say, somewhere around ten,
| | 04:02 |
where it's going to produce enough light
to light the scene.
| | 04:05 |
It's going to start to get really noisy
around the edges.
| | 04:08 |
Now, depending on your scene, that might
be okay, and you might not even notice the noise.
| | 04:12 |
But if you want to get cleaner lighting,
there's another way of doing this.
| | 04:15 |
I'm going to go ahead and back this down
to luminous intensity of one.
| | 04:19 |
And, I'm going to look now at the bounce
material.
| | 04:23 |
And I'm going to look at the material rev
and you can see that right now, it just
| | 04:26 |
has a slightly off-white color to it.
And the diffuse amount is set to 100%.
| | 04:31 |
While I could easily increase this number,
without having as much of an impact on the
| | 04:35 |
render quality.
So, if I take this up to, say, just to
| | 04:39 |
start, 200%.
You can see that the scene gets lighter
| | 04:42 |
but we're not getting a lot more rendering
artifacts showing up.
| | 04:45 |
I can take this up ever farther to 500 and
again, we'll see that it's increasing the
| | 04:49 |
amount of lighting without having a super
adverse affect on the amount of artifacts
| | 04:53 |
in the scene.
Now the problem with doing it this way is
| | 04:57 |
similar, though, because really what we're
doing is making a light much, much, much
| | 05:00 |
brighter when we could just make it
larger.
| | 05:03 |
So let's go ahead here And I'm going to
set this back down to 100 for now.
| | 05:09 |
And them I'm going to look back here, I'm
going to select my object and I'm just
| | 05:15 |
going to use the scale tool here.
And I'm going to set my action center to
| | 05:22 |
selection, and then just scale this up.
To make it larger, and you can see that
| | 05:27 |
the bigger this gets, the brighter it
lights up the scene.
| | 05:32 |
Now you also notice though that it's going
to start affecting the scene itself,
| | 05:35 |
because now this ball is large and it's
bouncing off the edge of the wall there,
| | 05:38 |
so you start to see a little light spill
there.
| | 05:42 |
So you have to be a little careful with
your aiming?
| | 05:44 |
But this can really help to increase the
amount of lighting.
| | 05:46 |
And then I can also go back, to my bounce
material, and adjust my diffuse amount,
| | 05:50 |
we'll go up to 200%, and you can see you
start to see differences.
| | 05:56 |
This can work well if you are using
multiple lights or if you are.
| | 06:00 |
Just looking for, kind of, subtle, soft
lighting or if you have really large
| | 06:03 |
objects to handle your lighting.
If however, you want to be able to get
| | 06:07 |
more control over this, and also decrease
your render times, there is another way of
| | 06:11 |
doing it.
It requires a little bit more setup but,
| | 06:15 |
is well worth the effort.
I'm going to go ahead and take my bulb,
| | 06:18 |
here, and turn off the illumination for
now.
| | 06:22 |
So I'm going to take my luminous intensity
and just put it down to 0.
| | 06:25 |
Again, our scene'll go black.
And now, what I'm going to do is, I'm
| | 06:29 |
going to go over to my layout tab, so that
I can see everything here.
| | 06:36 |
I have all of my texture locators in the
way here so, I'm just going to press the O
| | 06:39 |
key and uncheck texture locators.
I'm just going to clean up my scene a
| | 06:44 |
little bit.
And now I'm going to scroll down here
| | 06:46 |
where I have this spot light and the spot
light is actually a child of the umbrella.
| | 06:50 |
And when I turn it on you'll see that it
is right inside the bulb here.
| | 06:57 |
Now, this can be a problem if you need to
have any shadows cast off of this.
| | 07:03 |
So that's just something to keep in mind
here.
| | 07:05 |
I'm going to set my Action Center to
Automatic and select my Spot Light.
| | 07:11 |
And you have to make sure that this scale
is Back to 100% here.
| | 07:19 |
That way I can see where that bulb is.
It was really small before.
| | 07:23 |
So now I select my light here.
You want to make sure that you're in item
| | 07:27 |
mode or you won't be able to actually
select and move the light, and then you
| | 07:31 |
can see that I can move this, if I want to
use shadows based off of this.
| | 07:36 |
So if I want to have like a wall behind
this light or something like that.
| | 07:40 |
You have to make sure that you are keeping
your light in front of the actual bulb
| | 07:45 |
mesh here.
So I would have to move it up so that the
| | 07:48 |
focal point of the light is in front of
the mesh.
| | 07:51 |
Otherwise I can just sink it back in
there.
| | 07:53 |
And then I have this set up so that the
cone of the light of this spotlight is
| | 07:58 |
just falling just inside of the umbrella
itself.
| | 08:03 |
So now if we click over to our light, you
can see that this is coming out really,
| | 08:06 |
really bright so far.
So there are a couple of things to adjust,
| | 08:09 |
so I'm going to go to my bounce material.
And just reset the diffuse amount to 100%.
| | 08:16 |
There you can already see that this is
working pretty nicely.
| | 08:18 |
And then I'm going to go down to my
spotlight, and you can get good control
| | 08:22 |
over the brightness of the light now just
by looking at your spotlight's intensity.
| | 08:28 |
So you can see right here I have it set to
six.
| | 08:30 |
I can back this off to the default, which
is three.
| | 08:33 |
And you can see I get a relatively nice
amount of light, plus we're getting a good
| | 08:36 |
amount of bounce off of the, the
surrounding environment.
| | 08:40 |
And the cool thing about this is since we
had already turned up the number of
| | 08:43 |
bounces to two, we are getting all of the
bounce play off of the scene.
| | 08:47 |
In here without having to increase our
render bounces.
| | 08:50 |
So if I go back to Global Illumination
here and turn this back down to one, this
| | 08:53 |
is going to be a bit more like we're
actually seeing with the polygonal lighting.
| | 08:57 |
Only is that we aren't getting the fill
light coming from the scene.
| | 09:01 |
So using a well-placed.
Traditional CG light will help you to get
| | 09:05 |
extra bounces and extra illumination in
your scene without having to overly
| | 09:09 |
increase this number of indirect bounces.
So I can turn that up one more, back to two.
| | 09:15 |
You can see that I get a relatively nice
amount of fill, and all I've placed is a
| | 09:18 |
single umbrella light.
And I could also decrease the intensity here.
| | 09:22 |
To get good control over this and add in
multiple lights to balance out my light differently.
| | 09:28 |
And so you can control very easily the
brightness of the light with the light
| | 09:32 |
itself and then you can go to your bounce
material here and control the coloration
| | 09:36 |
of your scene just by changing the
temperature.
| | 09:42 |
For the color of your bounce material.
So this is going to be like bouncing the
| | 09:46 |
light off of a more warm colored material
or bouncing it off a cooler color material.
| | 09:53 |
You can get good control over your
lighting that way and you're separating
| | 09:56 |
out the color with the actual brightness
of the light this will give you a little
| | 09:59 |
bit more control in fine tuning.
Also increase the speed and quality of
| | 10:04 |
your finish renders.
| | 10:05 |
| | Collapse this transcript |
| Using images with polygonal lighting| 00:02 |
Using images in conjunction with more
complex polygonal lighting will help you
| | 00:06 |
to get even more fine-tuned control over
the actual shape, coloration, and
| | 00:10 |
intensity of your lights.
If you open up the Light_Images_Start
| | 00:16 |
file, you'll have our umbrella light that
has a simple UV attached that's really
| | 00:20 |
just on the umbrella because that's the
only place we're going to bake light here.
| | 00:25 |
And what we can do is if I turn on Ray GL,
you can get a good quick idea of what's
| | 00:29 |
going on here.
You can see that the light from our
| | 00:33 |
spotlight is shining up onto this umbrella
and falling off towards the edges.
| | 00:39 |
We're also picking up a little bit of the
coloration of the actual diffuse material.
| | 00:44 |
And overall, that's going to give us what
we need in order to create a good, simple
| | 00:48 |
start for our image texture on this
polygonal light.
| | 00:53 |
So I'm just going to go up to Render >
Bake to Render Outputs.
| | 00:58 |
And I have my render size set to just 512
by 512, so it's relatively small.
| | 01:04 |
It's going to bake pretty quickly.
So, then, I'm going to go ahead and just
| | 01:10 |
save that image, which I'll put down here.
(SOUND) And I'll put that in my images
| | 01:16 |
file, and we'll call this (SOUND) Umbrella
Bake.
| | 01:22 |
(SOUND) And I'll just hop over to
Photoshop, where I will open that up.
| | 01:26 |
So there you can see that I have that
really simple baked object.
| | 01:30 |
There's a little bit of, kind of,
undulation in the bake.
| | 01:33 |
And that's actually okay because that's
going to give just the effect of a little
| | 01:36 |
bit of simple material imperfection.
So we won't even worry about smoothing
| | 01:41 |
that out at all.
And now, you could take this and do as
| | 01:45 |
much work as you want right here inside
Photoshop.
| | 01:48 |
So I want to, let me just put in a grid
here so I can get into the center.
| | 01:54 |
So, if I wanted to make an ellipse in the
middle, we're going to kind of mimic what
| | 01:58 |
was going on with the light anyway.
And let's put this on a new layer.
| | 02:03 |
I'll just fill that with black and I'll
blur it just a little bit.
| | 02:07 |
(SOUND) Just a little bit of a Gaussian
blur there.
| | 02:11 |
So it gets a little bit softer.
And I could also, obviously, decrease the
| | 02:14 |
intensity of that to get a little bit of a
light bleed coming around.
| | 02:18 |
So we still get a little bit of white
coming out of that center.
| | 02:21 |
Again, you get a little bit more control
here.
| | 02:22 |
So, let's go ahead and I'm just going to
save that and it's going to save out now
| | 02:26 |
as a PSD file.
So I'm going to call this Umbrella_Lum now
| | 02:30 |
(SOUND) because it's our luminous color.
And then, we'll go back into Modo.
| | 02:36 |
And we will hide this.
And what I'm going to do in order to make
| | 02:39 |
this a little bit easier to work with is
I'm just going to take this umbrella and
| | 02:42 |
I'm going to duplicate it.
Not duplicate hierarchy, just duplicate it.
| | 02:46 |
And then I'm going to hide the first
umbrella.
| | 02:49 |
And then, here on this duplicate, I'm
going to select this bulb and get rid of it.
| | 02:53 |
So now I can apply a new (SOUND) umbrella
texture.
| | 02:57 |
(SOUND) And, first, it's not going to have
anything on there, just going to have my
| | 03:02 |
previous properties, but if we go back
over to our render tab and I open this up,
| | 03:08 |
I can go ahead and add a layer.
Now load an image and we'll get that
| | 03:15 |
umbrella loom and we'll apply that.
Now first it's going to come in diffuse
| | 03:19 |
color like always I just wanted to change
that.
| | 03:22 |
I can use either luminous amount or
luminous color.
| | 03:24 |
I'm going to use luminous color in this
case, so that I can just control the intensity.
| | 03:31 |
Let's turn off my diffuse amount here.
Then I can just set my luminous intensity
| | 03:38 |
up to one.
If I need to get more lighting out of
| | 03:41 |
that, that's easy to do.
I can also increase my Luminous Intensity
| | 03:45 |
or I can map that luminous color to
luminous intensity.
| | 03:49 |
But, again remember, if you're dealing
with having to go to really high luminous
| | 03:52 |
values, you should probably consider
making your light larger because that's
| | 03:56 |
going to.
Adversely affect the overall look of your
| | 04:01 |
scene with rendering artifacts.
So I've got this here.
| | 04:07 |
I'm going to take my can, and I'm going to
turn off the blurry reflections for right
| | 04:11 |
now so that we can get a more clear
representation of this.
| | 04:16 |
So you can see there's our light and it's
nicely reflected in there.
| | 04:20 |
And we're getting a really similar effect
to what we had with the actual modeled light.
| | 04:26 |
But now, I can easily go back into
Photoshop and let's say I decide that I
| | 04:32 |
want some kind of simple spokes going
through here.
| | 04:40 |
(BLANK_AUDIO) So if I just go in here with
a small brush, and I'm just going to
| | 04:44 |
create some real simple, kind of, spokes
here.
| | 04:49 |
And I'm just going to paint this on
through.
| | 04:51 |
You can do these obviously however you
would like.
| | 04:56 |
but I'm just doing it kind of quickly
here.
| | 04:58 |
okay so we got something like that.
And then I'm going to take my opacity on
| | 05:01 |
this one and increase it so I get
something that's relatively even.
| | 05:04 |
And then I'll also just going to blur
those out a little actually.
| | 05:07 |
I'll blur those a little bit more, so they
kind of soften out.
| | 05:10 |
There we go.
So, the nice thing is, is dealing with a
| | 05:13 |
layered Photoshop file, I can just go in,
make some changes to an indiviudal layer,
| | 05:16 |
save the file, hop back into Modo and it's
going to auto-update.
| | 05:20 |
And now, if we let this update, you can
check it out, we can actually now start to
| | 05:23 |
see those little spokes start to appear.
This can be really, really powerful
| | 05:29 |
because you can even change things to
simulate having multiple colors or
| | 05:32 |
multiple bulbs.
So if for example, I wanted to, just get
| | 05:37 |
this background, I want to get a simple
selection here on one side.
| | 05:42 |
And let's just say I want to go and.
I'll just adjust the hue on this and pull
| | 05:49 |
it back to warm up one side.
Let's see if I can find some orangish
| | 05:54 |
kind of color here and get a little bit
more saturation.
| | 05:58 |
(SOUND) (INAUDIBLE) for something about
like that.
| | 06:02 |
Mm, yeah.
Think that'll do.
| | 06:04 |
Now you're, something like that.
I'm not going to get crazy with
| | 06:07 |
adjustments here but you get the idea.
So now, half of this is cool.
| | 06:12 |
Half of this is warm.
So again, we'll save the file.
| | 06:15 |
Go back over to Modo.
It will auto update and now we're getting
| | 06:18 |
a little bit of kind of warm on this side,
a little bit of cool on this side.
| | 06:23 |
All within one light, without having to
make any big adjustments.
| | 06:26 |
So using images either based off of bait
lighting that's already in your scene, or
| | 06:30 |
just by painting them manually, you can
get good control over what you're doing
| | 06:33 |
with your light environments.
It just gives you another option for
| | 06:38 |
creating the lighting that you want to
really, really make your object pop out of
| | 06:41 |
your scene.
There's no one right way to do it but by
| | 06:45 |
mastering multiple techniques you'll be
able to more easily create the lighting
| | 06:48 |
scenaro that you need for your particular
product visualization.
| | 06:52 |
| | Collapse this transcript |
| Rendering with polygonal lighting| 00:02 |
When it comes to rendering your scenes
using polygonal lighting, the overall
| | 00:05 |
settings are relatively easy to balance
and adjust.
| | 00:08 |
But there are a few things that you should
look out for.
| | 00:10 |
If you open up the Poly_Light_Rendering
file, you'll get something that has some
| | 00:13 |
initial, very rough render settings.
I'm going to go ahead and just fire off a
| | 00:17 |
quick render here.
And you can see, with this, I have all of
| | 00:20 |
my settings, kind of, at default or lower.
As far as global illumination goes, I only
| | 00:27 |
have 64 rays, which is very low.
The default is 256.
| | 00:31 |
You can see that the effect on the
background is just kind of splotchy, a
| | 00:33 |
little messy look.
And here, across the can, even, we start
| | 00:37 |
to see this kind of vertical striation
happening.
| | 00:40 |
And then, underneath the lip here we get
some real kind of rough noisy artifacts.
| | 00:45 |
Now render time is relatively quick, only
17 seconds for this frame.
| | 00:48 |
But we can look at how to improve this.
And the thing that you might look at doing
| | 00:52 |
first, and this is kind of a common thing,
is to just go take the radiance rays and
| | 00:55 |
just bump it up.
Now you can do that, but that's going to
| | 00:59 |
have a relatively deleterious effect on
your render times.
| | 01:02 |
Now you can get good quality that way, but
even upping that number to something very
| | 01:06 |
high, like 1024 or 2048, is going to still
leave some artifacts that we can improve
| | 01:11 |
in other ways.
So let's start by looking down here at the
| | 01:16 |
Irradiance values.
So, let's look first at the Interpolation values.
| | 01:20 |
And this is going to be how the individual
light rays are smoothed between each
| | 01:24 |
other, or rather how the samples are
smoothed between each other when they
| | 01:27 |
light our surfaces.
So if I take this Interpolation values and
| | 01:32 |
drive it from 1, which is the default, all
the way up to 8.
| | 01:35 |
Let's go ahead and render again.
And we should see a very, very minor
| | 01:39 |
affect on the render time.
But a relatively solid affect on the
| | 01:43 |
overall quality of the finished image.
Already you can see that those vertical
| | 01:47 |
striations are gone from the can.
And that the background is looking
| | 01:51 |
somewhat cleaner.
We still have a lot of this blotchiness
| | 01:54 |
under here.
And if we look at the difference between
| | 01:57 |
this frame and this frame, there is a
marked difference, and we've only gone
| | 02:01 |
from 17.2 seconds up to 18 seconds, so a
relatively good increase in quality for
| | 02:04 |
only a very minor increase in render time.
So that's going to be the first think that
| | 02:11 |
you'll want to do on your scenes is just
increase that interpolation value...
| | 02:16 |
Its going to give you a nice smoother
overall result without having a much
| | 02:19 |
larger render time.
And then, from there we can start to
| | 02:22 |
increase some of the other values.
So I'm going to start with the irradiance
| | 02:26 |
rays which I'm going to just double to
128.
| | 02:29 |
And then we'll render again.
And this will go a long way towards
| | 02:34 |
cleaning up a lot of the background
splotchiness.
| | 02:36 |
Already can see that the background it
looking much smoother.
| | 02:39 |
And overall is looking pretty nice and
clean.
| | 02:43 |
We may want to go up one more step to
something like 256 but that can be
| | 02:46 |
something that you decide on your own
scene-by-scene basis.
| | 02:51 |
So, the thing that is not much cleaner
here, if we look between this one, or yes,
| | 02:55 |
we do have some background splotchiness,
and this one, where it's cleaned up for
| | 02:58 |
the most part.
But if we look here underneath the lip of
| | 03:03 |
the can, we've got this kind of
splotchiness here, which really hasn't
| | 03:07 |
cleared up too much underneath the lip, so
we've gone up from also 18 seconds up to
| | 03:11 |
19.2 seconds.
So, a little bit of an increase but
| | 03:16 |
definitely not terrible.
What you may want to do is, once more,
| | 03:20 |
just go and bump up the irradiance rays.
But just to show you how this works, let's
| | 03:24 |
go ahead and increase this all the way up
to 1024 and we'll go ahead and fire off a render.
| | 03:29 |
Now, as this goes you'll notice that the
actual Irradiance cache is going to be
| | 03:32 |
slower because it's having to gather more
samples.
| | 03:36 |
But as it goes through and collects those
light samples, you're going to be higher quality.
| | 03:43 |
So the background now is going to look
very smooth.
| | 03:46 |
The front of the can, which was already
smooth, is looking nice and smooth still.
| | 03:50 |
And then as we get up underneath the lip,
into these kind of tighter areas.
| | 03:53 |
This is where you're going to see a really
big improvement on the overall quality.
| | 03:57 |
You can see that this is smoothed out
significantly.
| | 04:00 |
There's still a little bit of blotchiness,
but it's much better.
| | 04:02 |
Now the down side is that we have nearly
the render time Almost 36 seconds, now, 36
| | 04:06 |
seconds is a pretty fast render time but
I'm only rendering at a low resolution at
| | 04:09 |
this point.
If you're rendering for print or any other
| | 04:14 |
kinds of destinations, then you're
going to want to increase your resolution
| | 04:17 |
and, of course, that doubling in render
time is going to double as well.
| | 04:21 |
So if you're having a 2 hour render time
for a large image, it's going to bump up
| | 04:24 |
to 4.
So that's not always going to be your best option.
| | 04:28 |
You can see that the differences, other
than, the areas of really, kind of.
| | 04:32 |
Fine detail, or relatively small.
The background looks a little bit
| | 04:35 |
smoother, but not much.
There's before, and there's after.
| | 04:37 |
But really the only place we're seeing
some big improvement is here, and that
| | 04:41 |
leads us now to one other place that we
can look for, increasing the quality
| | 04:44 |
without increasing the render time too
much.
| | 04:48 |
So I'm going to take my irradiance arrays
and I'm going to back those back down, I'm
| | 04:51 |
going to go all the way down to 128, where
we were before this render.
| | 04:54 |
And the irradiance rate and the radiance
ratio will give you kind of a place where
| | 04:59 |
you can balance a kind of a three-way
balance between speed, smoothness, and accuracy.
| | 05:06 |
So if I decrease the irradiance rate, it's
going to make those sample sizes smaller.
| | 05:12 |
It's going to make the render more
accurate.
| | 05:14 |
But it's also going to make it splotchier.
Which means that I'll have to increase my
| | 05:18 |
number of rays in order to get something
clean.
| | 05:21 |
At a default of 2.5, it's relatively
clean.
| | 05:24 |
But it's also going to be relatively
splotchy, unless you increase the number
| | 05:27 |
of (INAUDIBLE) rates.
So what I'm going to do is, I'm going to
| | 05:31 |
take this number, and actually drive it
up.
| | 05:33 |
It's going to decrease my overall accuracy
slightly.
| | 05:37 |
But I can always go back and get that
accuracy in different ways.
| | 05:40 |
So, let's go here and I'm going to
increase this.
| | 05:42 |
I'll just double it to five.
Now, when you increase your radiance rate
| | 05:45 |
you should note that the radiance ratio
also needs to be changed correspondingly
| | 05:49 |
in order to optimize your render times.
The radiance rate and the ratio actually
| | 05:54 |
multiply by each other, in order to get
your finished number of rays on kind of
| | 05:57 |
large, open areas that don't require a lot
of detail.
| | 06:02 |
So, since I've doubled this, I've
effectively doubled the amount of rays,
| | 06:04 |
even in these big, flat areas the don't
need the extra detail.
| | 06:08 |
So, what I'm going to do is take my ratio
and decrease it.
| | 06:10 |
I'll also cut it in half to three, and
that's going to gimme kind of a similar
| | 06:14 |
balance in render time that I had Before
adjusting these values at all.
| | 06:19 |
With that, let's go ahead and render that
one off.
| | 06:21 |
And now you'll notice that, just like in
the previous renders, we're going to get
| | 06:25 |
pretty quick passes initially, here.
And then as this comes through, background
| | 06:29 |
is nice and smooth, and you can see down
here where this wasn't too splotchy, is
| | 06:32 |
pretty clean.
But up here on the lip of the can We can
| | 06:37 |
see some really nice, clean, smooth
rendering.
| | 06:42 |
Now, if we look at the version that was
done at really high levels, at, 1024 rays,
| | 06:46 |
pretty smooth, but actually you get a
little bit of splotchiness happening right
| | 06:49 |
in here, underneath the lip.
On this one, it's almost completely
| | 06:54 |
smoothed out.
And the difference is we've gone from 35.8
| | 06:58 |
seconds all the way back down to 19.4
seconds.
| | 07:02 |
So, as I mentioned, this is going to be a
big balance between Speed, accuracy, and
| | 07:06 |
overall smoothness and lack of noise.
You'll want to adjust these on a per scene
| | 07:11 |
setting and on a per object setting in
order to get the best possible quality.
| | 07:17 |
Not all objects are going to need a lot of
detail lighting because they may not have
| | 07:20 |
small crevice areas like underneath this
lip or little areas like this underneath
| | 07:23 |
the bottom of the can.
Some are going to have more and there are
| | 07:27 |
always going to be some models that are
just going to require really long render
| | 07:31 |
times in order to look good.
But by optimizing these settings one at a
| | 07:36 |
time, you can get to the highest possible
quality, or the necessary quality, without
| | 07:40 |
having to spend enormous amounts of time
in rendering.
| | 07:44 |
So, adjusting first your interpolation
values, then looking at your arrays in
| | 07:48 |
order to smooth out the background, and
then adjusting the rate and ratio will
| | 07:51 |
help you to get a good quality without
spending loads of time waiting on finished renders.
| | 07:57 |
| | Collapse this transcript |
|
|
6. Creating Painted EnvironmentsIntro to painted environments| 00:02 |
In the real world, light comes from
sources that don't have a single solid
| | 00:05 |
color or a single solid color temperature
even.
| | 00:09 |
We can be dealing with individual lights
inside of a studio and they can have some
| | 00:14 |
variations in their color.
There's also the possibility of more
| | 00:18 |
natural light, say, like a window that
have light coming in that will be
| | 00:22 |
comprised of the color of the sky, the
color of any sunlight coming in, the color
| | 00:25 |
of anything that is in the environment
outside, and all those things flooding
| | 00:28 |
into the internal environment.
As you can see, even with this simple
| | 00:35 |
example that has the painted texture on
the luminous umbrella.
| | 00:40 |
Just by changing out, (SOUND) removing the
image and going to a straight white
| | 00:44 |
umbrella, there is a definite noticeable
drop in the realism of this light spot
| | 00:49 |
here the, in the reflection.
And then, the light overall becomes a
| | 00:54 |
little bit harsher and less nuanced.
Just by turning on that single image, we
| | 01:00 |
get a little bit more realism added into
the lighting scenario.
| | 01:05 |
Now, Modo has a good solution for creating
good, naturalistic lighting environments.
| | 01:11 |
And we can use simple presets right now
(INAUDIBLE) in the studio presets in the
| | 01:16 |
environments folder.
And if I throw in just a simple studio
| | 01:21 |
environment, you can see if we go over to
the texture.
| | 01:26 |
Down here, we go down to environment and I
open up, oops, looks like I had two on here.
| | 01:33 |
So let's go ahead and turn that one off.
We'll open up this environment that has
| | 01:38 |
the HDR studio texture in it.
You can see that it's just a simple,
| | 01:42 |
spherical texture that has three different
colored lights, a warm, a cool, and a
| | 01:46 |
neutral light, an overhead light.
And then, kind of a vertical light just
| | 01:52 |
giving a little bit of neutrality between
the warm and the cool lights.
| | 01:57 |
And there's also some bounced reflection
of the light that, as what we see up in
| | 02:01 |
this area.
Now the problem is, is that, one, this is
| | 02:04 |
a little bit on the abstract side when it
comes to creating it for your specific envirionment.
| | 02:11 |
Creating lighting that uses one of these
means that you need to paint in a, an
| | 02:17 |
unwrapped state.
So that can be a little bit difficult.
| | 02:22 |
And the other problem is is that there is
no real direct way to edit these.
| | 02:25 |
We can rotate them or change the overall
brightness and intensity.
| | 02:31 |
For example, I could just go to my
environment here and change the intensity
| | 02:34 |
to 0.75.
And you can see the entire thing decrease
| | 02:38 |
in intensity.
But overall there isn't a huge amount of
| | 02:41 |
control given us over what happens within
the slide environment.
| | 02:46 |
If you don't find a preset in one of the
categories that fits your needs, or you
| | 02:50 |
can't find one online, then you're
relatively stuck as far as what you can do
| | 02:54 |
for your particular scene.
If you want to have direct control over
| | 03:00 |
all of the different light intensities and
colors in your scene, then you have to
| | 03:04 |
either create individual lights, or you
have to be able to paint them more directly.
| | 03:11 |
So, creating your own painted environment
is a powerful way to get good subtle,
| | 03:16 |
nuanced lighting, and also have perfect
control over where you place different
| | 03:21 |
color values to properly highlight the
particular model that you're visualizing.
| | 03:29 |
| | Collapse this transcript |
| Setting up the environment| 00:02 |
Initially setting up a scene to create
painted environments can be a little frustrating.
| | 00:06 |
So it's important to take a few things
into account when you build the scene that
| | 00:10 |
you're going to paint in.
So if you'd like to follow along, you can
| | 00:14 |
open up the Painted Environment Start
file, and in that you will have.
| | 00:18 |
A simple scene with just our background,
our can, and then also it has a paint can camera.
| | 00:29 |
And that's the camera that we're going to
use its perspective from when painting the
| | 00:33 |
actual environment.
So what we'll need is a sphere to catch
| | 00:38 |
the environment paint, a camera set up so
that we can look at the sphere in a good
| | 00:42 |
way in order to be able to really gauge
where the paint should go, and then a
| | 00:46 |
little bit of editing to the actual.
Layout of modo to be able to see what we
| | 00:53 |
need to be able to see as we create the
paint.
| | 00:57 |
So, with that said, let's go ahead and
start by dropping in a sphere, and that's
| | 01:02 |
going to come in here just as sphere,
which I'm going to rename birosphere, so
| | 01:06 |
we'll know what it is, and I'm going to
make sure that I'm in polygon mode.
| | 01:13 |
And I'm just going to select this sphere,
and in poly mode, I'm going to scale it up.
| | 01:17 |
The reason I'm scaling it in poly mode is
so that we get a relatively good baseline
| | 01:21 |
scale, and then I can always go back in
item mode and scale it up more or less,
| | 01:25 |
but this is going to give me something as
start point that we can come back to.
| | 01:31 |
So, about 700% ought to do it for the sake
of this scene.
| | 01:35 |
So I'm going to press Q to drop my tool.
F to flip the polygons so that they're
| | 01:38 |
facing in.
And then M to add a new material.
| | 01:41 |
Which I'll call Environment Sphere.
And at first here I'm going to leave the
| | 01:45 |
diffuse and specular all at default.
eventually everything will be zeroed out
| | 01:50 |
except for the luminous values so that
this will be a, an environment sphere.
| | 01:54 |
So it's actually casting light.
Just like an environment preset would.
| | 01:58 |
So let's go ahead and click OK on that.
And Then we're going to hop over to the
| | 02:02 |
set up tab and what we'll do here is
create a locator that's going to stand
| | 02:07 |
kind of in the middle of the object, in
this case the can.
| | 02:13 |
And then we will parent our camera to
that.
| | 02:18 |
But we won't directly parent it because
then You wouldn't be able to use any
| | 02:21 |
rotational values.
Another reason it will create a locator
| | 02:25 |
and tie in the position of the camera to
the locator is so that the camera will
| | 02:28 |
stay centered in the middle of our scene
and you can rotate and look around all you want.
| | 02:35 |
And it's always going to snap back to the
middle of the scene and give you a good
| | 02:38 |
kind of bird's eye view perspective to
paint from.
| | 02:42 |
So, let's go ahead in here, and I'm just
going to click on this button in the upper
| | 02:46 |
left to add in a locator.
Let's just zoom on in there.
| | 02:53 |
And I'm going to place this just kind of
up at the top of the can.
| | 02:58 |
Somewhere around here and, that's just
going to be a good place to look from here.
| | 03:04 |
Right and the next thing that I'm going to
do is I'm going to select my paint camera,
| | 03:07 |
and I'm going to open up the channel
links.
| | 03:10 |
When you open up channel links, you'll see
that Paintcam has opened up as the driven.
| | 03:15 |
And I want to take my locator here Which
I'll rename, camera lock, and with that
| | 03:21 |
selected I'm going to load that as the
driver.
| | 03:26 |
So the position values, we're only
going to do position, of the camera lock
| | 03:30 |
locator are going to.
Governed the position of the paint camera itself.
| | 03:36 |
So I'm going to select position X and
position X and add link.
| | 03:40 |
Position Y and position Y and add link.
Position Z and position Z and add link.
| | 03:46 |
And then we'll close this up.
And I'm going to press O so that I can
| | 03:49 |
make sure that I can see my cameras.
And now you'll see that we have the camera
| | 03:54 |
right in the middle of the scene.
And right now the camera looks really big.
| | 04:00 |
you don't need to do anything about that
just depending on the scale of your scene.
| | 04:04 |
But the effects could be cumbersome and
hard to see.
| | 04:06 |
you can always go to Display.
Select the camera and set the size.
| | 04:11 |
You can see that you can change the size
and you can change.
| | 04:14 |
In the way it draws in view port.
The problem is if you make it too small
| | 04:18 |
and then zoom out it's hard to visualize.
So, I'm going to press Zero and just zero
| | 04:22 |
that out and now it's going to remain that
size no matter how far in or out I zoom,
| | 04:25 |
and since I'm here, I'm going to go ahead
and do the same thing with my regular
| | 04:29 |
camera, and that way.
As I'm looking at this scene kind of from
| | 04:35 |
an outer perspective, I can still tell
where my cameras are.
| | 04:39 |
Alright, so now, if I switch over from
perspective to my paint cam, you can see
| | 04:42 |
that now I'm in the middle of this
environment.
| | 04:46 |
So, if I use the Opt or Alt key on a PC,
and I use the Left Mouse button to look
| | 04:50 |
around, you can see that I'm staying right
here in the center of the object.
| | 04:57 |
Which you would expect if you're using the
Right Mouse button anyway.
| | 04:59 |
But if I hold Opt or Alt and do the Left
Mouse button, see that I can move away
| | 05:04 |
from that center perspective.
But as soon as I release, it's going to
| | 05:08 |
drop me right back into the middle.
And the other nice thing about this is
| | 05:11 |
that if I decide that, well, my position
's a little bit off, I'm getting too much
| | 05:13 |
of the lip, kind of interfering with my
view.
| | 05:16 |
I can just take My locator, let's go back
to the perspective so this is a little
| | 05:20 |
easier to read, and drag it up.
And you can see the camera goes right
| | 05:25 |
along with it, so then I can just hop back
over to my paint cam, and there we go, so
| | 05:28 |
now I've still got the lip in the way a
little bit, but that's all right.
| | 05:32 |
So overall this is going to be a setup
that's going to help you see where your
| | 05:36 |
scene is, and if you want to keep
everything really good and easy to read.
| | 05:42 |
I also recommend going to shading options
and changing your inactive message to flat shade.
| | 05:47 |
That way they will still be visible but,
at the same time, it's going to be easier
| | 05:52 |
to recognize the actual sphere that we'll
be painting on.
| | 05:57 |
And, then, usually I would go with
advanced open GL for the rest of the scene there.
| | 06:06 |
So, there we go we've got this set up and
the last thing to do is going to be create
| | 06:09 |
an image to paint on.
So, at the top over to the shader tree,
| | 06:13 |
open up render and I'm going to open up
this environments sphere and select in
| | 06:17 |
here add image map, new image.
And I could just add a regular Targa file
| | 06:22 |
and if it's acting as my luminous color
That would be okay, because it;s going to
| | 06:26 |
pick up the color.
The problem is is that I'm only going to
| | 06:30 |
get a certain level of brightness out of
that image.
| | 06:32 |
So, I want to choose something high
dynamic range.
| | 06:35 |
So, let's go down here and I'm going to
choose, Open EXR float 32 bit and I'll
| | 06:41 |
call this Painted Enviro 1.
Just in case I want to have more and I'll
| | 06:47 |
click Save.
And resolution does not have to be super
| | 06:51 |
high on these.
You could paint it 248 by 248, and that's fine.
| | 06:55 |
I'll probably leave it at that for right
now.
| | 06:57 |
But then the other thing that I'm going to
do here is set the initial color to black.
| | 07:02 |
And then I'm going to set my mode.
I don't need the alpha so I'm just
| | 07:06 |
going to change it to RGB, and click OK.
And that's going to drop in here at first
| | 07:10 |
as a diffuse color.
I want to right click and change that to
| | 07:14 |
luminous color.
And then in my material I'm going to go
| | 07:18 |
over to my properties, material trans, and
I want to change my luminous intensity up
| | 07:22 |
to one.
And then for right now I'm going to leave
| | 07:27 |
my diffuse amount up just so that I can
see Where it is I'm painting.
| | 07:32 |
If I want I could turn that all the way
down to zero and I'm going to get black.
| | 07:36 |
If you like that and you have a scene that
has enough contrast in the environment so
| | 07:39 |
you can still see what's going on, yeah,
that's totally fine.
| | 07:42 |
You can make that black.
As a matter of fact, in this scene I've
| | 07:44 |
got enough so I'm going to leave it there.
But if you don't have enough contrast and
| | 07:47 |
it's hard to see your environment I
reccomend leaving your diffuse amount up
| | 07:50 |
while you're painting and so the last
thing that I'm going to do here is go over
| | 07:53 |
to my paint view.
And I'm going to press the O key and I'm
| | 07:58 |
going to get rid of much of this clutter.
I'm going to hide locators and textual
| | 08:01 |
locators make sure that lights and cameras
are all invisible.
| | 08:05 |
And I'm going to do the same thing here
where I change my inactive meshes to flat
| | 08:08 |
shade and then we're going to change from
perspective to paint camera and now we're
| | 08:12 |
here, we're ready to paint.
If I simply go here and select this
| | 08:18 |
painted envirornment, you'll see that I am
indeed Ready to start painting on it.
| | 08:25 |
So if I just paint a little line here you
can see yup.
| | 08:29 |
I can start painting on my environment.
So now we're set to create a good painted
| | 08:33 |
environment for the object.
And this kind of a set up will be very
| | 08:39 |
helpful for creating these.
Environments, especially initially.
| | 08:43 |
You can always switch to a perspective
view, if you want, in order to see a
| | 08:46 |
particular angle on your environment.
But this way you'll be able to know where
| | 08:50 |
the light is coming from in relation to
your scene and relation to your object.
| | 08:55 |
It'll help you to make this process a
little more simple and painless.
| | 08:58 |
| | Collapse this transcript |
| Painting your lighting| 00:02 |
When you have a painted environment all
set up and ready to paint on, you can
| | 00:05 |
actually just jump in and start painting.
If you'd like to follow along with this,
| | 00:10 |
you can open up the Painted Environment
Set file, and that will have everything
| | 00:13 |
all set up with a good camera and locator,
and then also your environment and
| | 00:16 |
everything all ready to paint on.
I'm going to go ahead here.
| | 00:21 |
And I'm just going to start by throwing
down a little bit of simple paint so I'm
| | 00:24 |
going to get an airbrush with kind of a
medium solid brush here.
| | 00:28 |
And I'm going to make it the size of a
nice big light over here.
| | 00:32 |
And I'm just going to go ahead and click,
we'll see that, there that circle drops
| | 00:36 |
right on the environment there.
Now this might be a little bit difficult
| | 00:40 |
to visualize how the end result is going
to be.
| | 00:42 |
So what I'm going to do is hold the
control key.
| | 00:45 |
And then I'm going to click and drag to
the right, here in my, 3d viewport.
| | 00:51 |
And when you click and drag holding the
Ctrl key on these little orange dots,
| | 00:54 |
it'll actually let you split off, the
viewport, in the direction that you drag.
| | 00:58 |
So if you click and drag to the right it
will divide it horizontally.
| | 01:01 |
If you click and drag down, it will divide
it vertically.
| | 01:04 |
So, now with this here, I'm going to go
ahead and change this view from the paint
| | 01:08 |
camera to the regular camera.
I could just use Ray GL and just flip this
| | 01:14 |
on here.
I have my Ray GL set up to really kind of
| | 01:16 |
fast setting, so it's very low resolution.
It's just going to give me kind of the
| | 01:21 |
general idea of lighting, or you could
just also hop over and change this under
| | 01:25 |
application to a preview window, and then
you're going to get the full preview render.
| | 01:30 |
I find that I like to have my preview set
up in a pretty high quality, and by
| | 01:34 |
keeping my ray GL set up lower under modo
in preferences or on windows under.
| | 01:41 |
System in preferences I'm going to go down
here to my (UNKNOWN) which is under
| | 01:45 |
display and you can see that I have my
resolution set to a quarter.
| | 01:50 |
And in this case I want to change it to
synchronous so its going to constantly
| | 01:53 |
keep that updated.
And then my quality you can set it to
| | 01:57 |
anything and its really not going to
matter its just going to be how much its
| | 01:59 |
going to refine.
If you leave it.
| | 02:02 |
If you find that it's taking more of hit
on your processor than you want it to, you
| | 02:05 |
can always turn that down.
But it should be fine at extended
| | 02:09 |
refinement passes, but just having it
quarter resolution is going to help a lot.
| | 02:13 |
So let's go ahead and close that.
And then I'm going to change this back to
| | 02:18 |
a 3-D model view.
And then, again, I'm going to change this
| | 02:22 |
to my camera.
And then I'm going to, if it comes out
| | 02:25 |
like this, I'm going to change all of my
inactive meshes to flat shade.
| | 02:31 |
And, actually, I'm also going to go here
and go to shade options and turn off my wireframe.
| | 02:36 |
And here press the O key, turn off
locators and texture locators so that I
| | 02:39 |
have a nice clean view here.
And actually let's also go in and I'm
| | 02:43 |
going to turn off the work plane and the
grid we'll just leave it like that.
| | 02:47 |
So now if I click on (UNKNOWN) and see
that I've got everything in here.
| | 02:53 |
Except it appears my wireframe came back.
So let's go ahead and turn that off.
| | 02:56 |
There we go.
So now I have this kind of nice, low
| | 03:02 |
resolution preview.
So, if I go in here, and I'm going to
| | 03:04 |
select now the soft edged brush, and I'm
just going to scale that down.
| | 03:05 |
And, if I have my blend mode set to
normal, that's not really going to change
| | 03:09 |
much by doing this, but, if I change this
to add, since this is a high dynamic range
| | 03:13 |
image, I can really go beyond just regular
range here.
| | 03:18 |
If I continue to click in the middle, it's
going to get more and more intensity.
| | 03:21 |
And actually, I'm going to blow this out a
little bit more, and I'm going to click
| | 03:23 |
again and it's going to add a little bit
more halo around that light.
| | 03:26 |
You can see now that I get my update here
in relatively close to real time, and that
| | 03:30 |
way I can look and see how my lighting is
coming out.
| | 03:34 |
Really, really quickly.
I don't really like the way that that came
| | 03:37 |
out so I'm just going to go ahead, grab my
solid brush here, I'm going to change my
| | 03:40 |
foreground color to black and my mode back
to normal.
| | 03:43 |
And I get a big brush here and just kind
of paint all that out.
| | 03:47 |
And we should see everything go black.
So, now the nice thing about this is you
| | 03:50 |
can adjust this really pretty easily.
Right now I have my color swatch set up as
| | 03:55 |
my light temperature.
You can also just click on this color
| | 04:00 |
swatch over here and change it back to
like HSV if you want.
| | 04:05 |
And anything that you change here in these
pop-up color pickers will also show up here.
| | 04:11 |
Now I'm just going to make this pretty
obvious on colors.
| | 04:14 |
I mean I'm going to put a bunch of blue
over here.
| | 04:18 |
And then I'm going to get a smaller brush
here and I'm going to change this to add
| | 04:22 |
And I'm just going to paint in a little
bit more intensity in the middle.
| | 04:28 |
And at first, obviously this things are
going to come out very, very blue but the
| | 04:32 |
more intensity I add into the center here,
I'm just going to go ahead and add a whole
| | 04:36 |
bunch right in the very middle of it, the
more it's going to lighten up and add less here.
| | 04:43 |
So not let's rotate around here to the
other side, and I'm going to pick a nice
| | 04:49 |
kind of warm color and I'm just going to
create kind of a little bit of warm
| | 04:54 |
background over here.
Okay, and then let's go for something a
| | 05:01 |
little more neutral.
Look up towards the top here and oops,
| | 05:05 |
that's a little bit of a big brush, and
I'm just going to paint in kind of some
| | 05:08 |
white color over the top.
Alright, so this isn't a very obvious and
| | 05:13 |
harsh colored example, but you can see
here in my scene I've got my warm colors
| | 05:17 |
on the left, I've got my more cool colors
on the right, I've got the neutral color
| | 05:21 |
coming up from the top.
It's a nice, simple environment.
| | 05:29 |
Now I do have complete control over what
is going on with this.
| | 05:33 |
So, if I want to, I'm going to go ahead
and change this to perspective for just a second.
| | 05:39 |
And I'm going to get myself a nice big,
strong brush that I'm going to change to black.
| | 05:44 |
And I'm once again just going to knock all
this out, oops.
| | 05:46 |
Also I changed my Blend mode back to
black.
| | 05:53 |
You can also use images in order to paint
right through those using Image Ink.
| | 06:01 |
So let me just finish getting this out or
mostly out.
| | 06:04 |
So I'm going to change back here to my
paint camera, and let's lit off to the
| | 06:10 |
left-hand side here.
Now I am very zoomed-out at this point.
| | 06:16 |
If I hold option or alt and the control
key and then right mouse button I can zoom
| | 06:19 |
in and it's going to give me less of a
fish-eyed view.
| | 06:23 |
So that might help depending on how you
want to paint here.
| | 06:26 |
But what I'm going to do now is grab a
Paint Brush and then I'm going to turn on
| | 06:30 |
Image Ink.
And then down here in the bottom I'm going
| | 06:35 |
to go to Image Ink and you can see here I
have a bunch of different Paths here.
| | 06:41 |
By default you're just going to have the
Assets path, which is just going to have
| | 06:43 |
anything that's inside your assets file.
I also always choose to add a path and I
| | 06:49 |
create in my pictures folder just on my
main hard drive I create an external
| | 06:53 |
images file.
And that way I have something that's right there.
| | 06:57 |
It's quick and handy in my desktop for me
to throw images into.
| | 07:01 |
In this case I've just tossed in the one
landscape image here.
| | 07:04 |
And then I have those readily available
for me to go and grab for painting.
| | 07:08 |
That way I don't have to be constantly
adding in paths just because I want to
| | 07:11 |
have a new image.
You can just toss some more images into
| | 07:14 |
that folder and I'm ready to go.
So now you can see I've got this landscape
| | 07:18 |
here, and I'm going to click it first.
And I'm going to undo 'cause I probably go
| | 07:21 |
a little bit of paint coming through that.
And I'm just going to create kind of a
| | 07:25 |
simple window over here.
So I just want to get this kind of lined up.
| | 07:30 |
Let me get my camera kind of in a nice
position here.
| | 07:35 |
Make sure Repeat is turned off so it won't
go beyond the borders here.
| | 07:38 |
Now let's go ahead and get a nice brush
size.
| | 07:42 |
And I'm going to set my foreground color
up to white because it's going to paint
| | 07:45 |
straight through.
And if I have another color, it's going to
| | 07:48 |
tint that.
so I'm going to start here just by.
| | 07:52 |
Clicking and painting off this initial
shape.
| | 07:55 |
And you can see now I'm getting the light
on my scene.
| | 07:58 |
And it's coming from this kind of pretend
window over here.
| | 08:02 |
If I change my blend mode here to Add, I
can go ahead and grab a softer brush.
| | 08:09 |
And then, if I wanted to, I could just
kind of paint a little through the middle.
| | 08:13 |
And it's just going to add the colors back
on top of each other.
| | 08:16 |
So it's just going to increase the color
intensity of this.
| | 08:19 |
So you don't even have to have high
dynamic range images to be able to paint
| | 08:22 |
this kind of thing in here.
You can just use regular old images like that.
| | 08:27 |
So now I'm going to press Q and Escape a
couple times to get my tool set all
| | 08:30 |
cleared out.
paintbrush again.
| | 08:34 |
I'm going to change the blend mode to
normal.
| | 08:36 |
And get a black paintbrush here.
Then I'm just going to scale this down.
| | 08:41 |
And I'm going to add some kind of simple
window frame here.
| | 08:43 |
So let's just paint through here.
Ooh, I don't have my tablet turned on.
| | 08:47 |
So pardon the not quite straight lines.
I'm painting with a mouse, so I apologize.
| | 08:52 |
There we go.
That gives me kind of the appearance of
| | 08:54 |
some window.
You'll probably see that in a higher
| | 08:56 |
resolution render, but this is really low
res, but I'm getting that window frame here.
| | 09:01 |
And then I also want to create a little
bit of bloom, so I'm going to change my
| | 09:04 |
blend mode back to add and I'm going to
increase the intensity here.
| | 09:09 |
And I could also choose to tint this, make
it a little cooler, a little warmer.
| | 09:13 |
Whatever the case may be.
But I'm just going to click here.
| | 09:16 |
Oops, let's undo that.
I'm going to zoom out a little bit so I
| | 09:19 |
can see this a little better.
Click around the edges and oops that's a
| | 09:23 |
little bit on the heavy side here.
So I'm just going to turn my color
| | 09:27 |
brightness down.
I can also paint with a tablet And then it
| | 09:31 |
would be not quite so heavy.
That's probably a little bit on the wide
| | 09:36 |
side here so lets come down a little bit
lower and just paint so that I'm getting a
| | 09:39 |
little bit of bloom coming around the
edges.
| | 09:45 |
So now you can see that I've got a much
brighter light, but I'm still getting some
| | 09:48 |
of the coloration coming off of that and
you can choose, like I said you can also
| | 09:51 |
make this like a cooler color here.
And, I want to say a little cooler for up
| | 09:57 |
here, and over there, and we'll just make
it a little warmer, earthier color for the
| | 10:01 |
bottom side, and granted it's not just
like the image, but you know it's going to
| | 10:05 |
give me that little bit of warmth in my
finished render here.
| | 10:11 |
So you can do this as much as you need to.
You can say, okay, one light's enough, and
| | 10:16 |
you're good to go.
You can also go in, use imaging.
| | 10:19 |
Create another window.
You could create a skylight.
| | 10:22 |
And you can create those manually, just
with paintbrushes.
| | 10:24 |
So change this back to my color
temperature here.
| | 10:29 |
And let's get a nice cool.
Color here for up top, and I'm just
| | 10:34 |
going to kind of click up there, and give
myself a little cool upside with something
| | 10:38 |
a little warmer, and just kind of paint
that over there.
| | 10:43 |
I'm painting a little bit heavily in this
case, because my opacity is set to 100
| | 10:46 |
percent and I'm just doing it with a
mouse.
| | 10:49 |
You could also choose to just decrease
your opacity so that you can get a little
| | 10:52 |
bit more subtle with it, there's just a
little bit of warm color for example.
| | 10:56 |
I'll put little bit more back there.
Yeah, and that'll do it.
| | 11:00 |
That's all I'm going to do for this one.
But, you can get the idea here how you can
| | 11:03 |
really nicely create pretty complex and
really custom suited environments that
| | 11:07 |
will highlight exactly what you need in
your environment.
| | 11:13 |
For your objects.
So if you look at this and say, its great
| | 11:16 |
but it needs to be a little bit cooler
over here on the right-hand side.
| | 11:20 |
I can go in here and grab our cool color,
pull up my brush, paint in some coolness
| | 11:24 |
and there you go.
You're set and ready to go.
| | 11:27 |
You can also change your blend mode to
normal and let me pull my opacity back up.
| | 11:34 |
And that way you're overriding what's
there.
| | 11:35 |
So, thats cooled that off entirely because
I'm not just adding a cool color on top.
| | 11:39 |
It's gives you really good, powerful
control over your lighting.
| | 11:42 |
It's very fast and very easy, and the cool
thing is its going to save this out.
| | 11:47 |
If I go in here to my render view and go
grab my images, I scroll down here, you'll
| | 11:51 |
see here I've got my painted in viral one.
Let me go ahead and make sure I save that.
| | 11:57 |
One thing to note is that when you have
your file it doesn't automatically save
| | 11:59 |
all of your images.
At intervals, it's a good idea to go up to
| | 12:03 |
file and save image or save all images,
and that will keep everything going here.
| | 12:07 |
You can also save all iterations by doing
save as.
| | 12:10 |
There, I've got that image and if I look
at that, it's a nice spherically wrapped
| | 12:13 |
image and I could take it in and edit it
in Photoshop if I want, if I'm comfortable
| | 12:16 |
with painting with that kind of unwrapped.
View, otherwise I can just continue to
| | 12:21 |
paint using a mixture of my brushes and my
image ink to create just the perfect
| | 12:25 |
environment for my product that I need to
visualize.
| | 12:30 |
It will let me highlight everything in
just the right way.
| | 12:32 |
You can adjust it right in front of
clients.
| | 12:34 |
It gives you a really powerful editing
suite for your tools that's fast and intuitive.
| | 12:38 |
| | Collapse this transcript |
| Other options for painted environments| 00:01 |
When creating painted environments in
Modo, there are a few extra options that
| | 00:05 |
you have, which will help you to add more
control to your finished setup.
| | 00:09 |
And if you're like me you like the option
to be able to change things quickly if
| | 00:12 |
somebody else wants it to be changed.
So if you open up the
| | 00:15 |
Painted_Environment_Layers file, you'll
see that we have our environment sphere.
| | 00:21 |
And inside that sphere we have a regular
environment, which I've actually hidden.
| | 00:25 |
So I'm going to go ahead and delete that.
And then I have an environment base,
| | 00:28 |
which, if we look at this, just has kind
of a warm ground color down there.
| | 00:33 |
And then a little bit kind of a soft
skylight up at the top.
| | 00:36 |
And it's just providing a little bit of
ambient fill for it.
| | 00:39 |
And then I have a second layer that's in
Environment Window.
| | 00:43 |
And see that just has a general image
painted on it with a little bit of bloom
| | 00:45 |
around it that's kind of helps fill it
out, and you can see there's the
| | 00:48 |
reflection of that, and the overall
lighting increases when that's added in.
| | 00:54 |
Now having these two layers it's nice and
gives you some extra control, but this
| | 00:58 |
becomes even more powerful when you edit
the position and location of these
| | 01:02 |
individual textures.
So, for example, I've got this in
| | 01:07 |
environment window here could just paint
an entirely different image if I want.
| | 01:11 |
But I'm in this case just going to go
ahead and duplicate that.
| | 01:14 |
And when I duplicate this, it's either it
creates a new texture locator for it.
| | 01:19 |
And by default, these are going to be set
up to UV maps which is fine because
| | 01:22 |
painting these, you have to use a UV map.
Because that UV map will tell it where to
| | 01:27 |
put it on our actual sphere.
But if you're using a standard sphere,
| | 01:30 |
with poles at the top, you can actually
change this and get a little bit more
| | 01:34 |
control afterwards.
So I'm going to take this environment here
| | 01:38 |
and lets go down to my projection type,
which you can see right now is set to UV map.
| | 01:44 |
And I'm going to change that to spherical
and you see that it will jump up to the top.
| | 01:50 |
You notice my lighting doesn't decrease at
all when I add these in.
| | 01:53 |
And that's because both of these window
layers have their blender modes set to add.
| | 01:56 |
So just like painting an extra layer of
paint on top, these extra entire images
| | 02:00 |
are being added on to what's underneath,
in this case, is that base image and then
| | 02:04 |
we're just going to add anything that goes
above there.
| | 02:08 |
So, now I can take this, and I'm going to
press Q and Escape twice just to make sure
| | 02:12 |
that I don't have anything else selected.
And then, I'm going to go ahead and select
| | 02:18 |
that texture locator.
And you can see that will highlight here
| | 02:21 |
in my view port.
And now, if I press the E key to get my
| | 02:24 |
rotate tools up, I can actually just take
and rotate this image, and let's say I
| | 02:28 |
want to put this one over here, and,
maybe, let's swing it a little towards the back.
| | 02:34 |
So I get kind of an edge-light off that.
Just over here, on the edge of this.
| | 02:39 |
And, there it is.
I could also take this and adjust it and
| | 02:42 |
make changes to it.
Or I could paint an entirely different
| | 02:46 |
image, so if you have an image of maybe a
couple of different lights here that
| | 02:49 |
you're using here, even if you duplicate
them.
| | 02:52 |
If you switch them over to a spherical map
you can take them and move around their
| | 02:56 |
position and this is going to be quickly;y
then adding the paint on top of everything else.
| | 03:03 |
So this will help you to get a very easily
manipulatable scene.
| | 03:08 |
That once you have something set up
similar to how you like and once you can
| | 03:12 |
master the basics of painting a simple
single environment image.
| | 03:16 |
This is going to be a good way to be able
to make simple overarching adjustments
| | 03:20 |
like for example, moving this window to a
different location.
| | 03:25 |
Without having to radically repaint your
entire image and wipe some parts out and
| | 03:30 |
erase other parts, et cetera.
So, going ahead and duplicating these
| | 03:34 |
layers will give you the ability to
control that.
| | 03:37 |
Just remember to change your texture
locator to spherical.
| | 03:40 |
If you don't do that it will just not do
anything.
| | 03:43 |
So if I grab this one here and select my
locator here.
| | 03:48 |
No matter what I do to rotate this, it's
not going to change the position of that
| | 03:51 |
window and that's because it's set to a UV
map.
| | 03:54 |
So the rotation and position of that
locator are essentially mute points
| | 03:57 |
because it's looking at the UV no matter
what I do.
| | 04:01 |
So, a couple of things to also consider
here when you're rendering these, and that
| | 04:05 |
is to make sure that you keep your base
material set to Luminous amount of 1.
| | 04:11 |
And then, if you're getting a bunch of
bounce, if you had previously set your
| | 04:15 |
diffuse or not set you diffuse amount
rather, you might notice that the entire
| | 04:20 |
scene starts to get really bright.
Just remember to go back in and set your
| | 04:25 |
diffuse amount to zero.
In that we are only going to be getting
| | 04:29 |
that luminous amounts, and the final thing
to check is in your global illumination settings.
| | 04:34 |
If you have your balances set to two, you
should be in good shape for finish rendering.
| | 04:38 |
You might even be able to decrease them to
one if you have a well lit scene that's
| | 04:42 |
got light coming from.
Lots of angles.
| | 04:45 |
And you don't have to worry about dead
spots, where you would need balances to
| | 04:48 |
fill them out.
Something to keep an eye on.
| | 04:50 |
You can save a little bit of render time
by reducing the indirect balances to 2.
| | 04:54 |
Although, usually having them 1 or 2 is a
relatively minor difference.
| | 04:58 |
But in large scenes they can make a
difference.
| | 05:00 |
So, that's just something to keep in mind.
Aside from that, keep your irradiance rays
| | 05:03 |
just as low as you need them.
Make sure that you're adjusting your
| | 05:08 |
irradiance rate and ratio and
interpolation values in order to keep a
| | 05:11 |
good polished look without having too long
a render time.
| | 05:16 |
So these are going to to be relatively
similar sections to polygonal lighting,
| | 05:19 |
because that's essentially what this is.
It's advanced polygonal light at this point.
| | 05:23 |
It's a sphere holding multiple polygonal
lights.
| | 05:26 |
And then just using that as an
environment.
| | 05:28 |
So, just a few extra options that you have
in order to make this painted environment
| | 05:32 |
creation more powerful and more flexible.
| | 05:36 |
| | Collapse this transcript |
| Creating HDR environments from Paint| 00:02 |
Once you have your environments laid out,
and lighting your scene exactly the way
| | 00:06 |
you want them, you could pretty easily
save out a preset of your environment's
| | 00:10 |
sphere, and then load that object preset
as an individual item, but You also have
| | 00:15 |
the option of converting these to an
actual scene like these Modo preset scene files.
| | 00:24 |
And that will actually give you a little
bit more control over how you work with these.
| | 00:29 |
So we're going to look at how to create an
HDR environment just like these Modo ones
| | 00:33 |
based off of the image that we have here.
And in this case we have multiple images
| | 00:38 |
and so it's going to be important that we
get these to all Stick together cohesively
| | 00:42 |
the way that we want them to.
if you'd like to follow along, you can
| | 00:47 |
open up the painted environment HDR file.
And I'm going to go up here to my
| | 00:51 |
environment sphere.
And I'm going to go up and choose new image.
| | 00:56 |
And I'm going to call this.
Painted, HDR, we'll just leave it at that.
| | 01:03 |
Painted, HDR.
I'm going to make sure that I am set once
| | 01:06 |
again to a a 32 bit open EXR format so
that you get the high dynamic range.
| | 01:12 |
I'm going to leave everything kind of the
way that it was And I'm going to leave it
| | 01:15 |
actually, as RGBA, and I'm not going to
set an initial color, though.
| | 01:19 |
So, once I do that, I'm going to end up
with a blank image in here, and it's
| | 01:22 |
going to set to diffuse color at first, so
I want to set that over to luminous color.
| | 01:28 |
And since there's nothing in here,
nothing's going to change.
| | 01:31 |
What I want to do is right click on this
and choose Bake To Texture.
| | 01:37 |
And when I do that, it's going to start up
a render process.
| | 01:41 |
By which, it's actually not rendering, but
it's taking a compilation of everything
| | 01:45 |
underneath that layer, and it's merging
them together into a single.
| | 01:51 |
Image map here.
So let me just slide this out of the way
| | 01:53 |
for the moment.
So you can see everything that has the
| | 01:56 |
luminous color tag on it, is now going to
be compiled into a single HDR here.
| | 02:02 |
So, let's move this back over so we can
see it.
| | 02:05 |
And you can see here it's rendering
everything.
| | 02:08 |
you can see that we've got one window
here, the other window's starting to show
| | 02:10 |
up there.
We've got our Light blue color on the top.
| | 02:14 |
Then we've got our, kind of, warm brown
color there on the bottom.
| | 02:17 |
And this will take just a minute to
complete.
| | 02:20 |
And it's going to create a compiled
version then of everything that we have
| | 02:23 |
going on.
So you could have, you know, five or ten
| | 02:26 |
small lights set up and have a really
complex scene where you're adding in a
| | 02:30 |
bunch of overlays and even painting a
little bit of perhaps some bounce in a
| | 02:33 |
background layer.
But this will allow you even to take them
| | 02:39 |
all and condense them into a single layer.
So, let this finish up.
| | 02:45 |
And then what we're going to do is we can
take and after this is done, just delete
| | 02:50 |
everything out of the scene.
It will actually just hide the sphere
| | 02:55 |
that's holding this texture, this lit
environment, and then we'll apply this
| | 02:59 |
image as an environment color image, so
we'll be creating a simple environment here.
| | 03:05 |
We'll let that finish up.
So while that's finishing.
| | 03:14 |
Oh, there we go, all done.
So I'm just going to save this image.
| | 03:19 |
Now I want to make sure that again I'm
choosing an open EXR format, so we'll call
| | 03:23 |
this, oh painted HDR, that was actually
the image that I had there.
| | 03:30 |
You created the dummy image and then
rendered over the top of it.
| | 03:33 |
So let's just go ahead and click OK.
And that will save this image over that one.
| | 03:37 |
Can go ahead and hide that.
And now, you can see that this painted HDR.
| | 03:42 |
I can even hide the other ones.
Because it's doing all of the work for us.
| | 03:46 |
It's created this Nice, combined image.
Okay, so we're going to go one step
| | 03:51 |
farther than here.
I'm going to go in and I'm going to find
| | 03:54 |
my environment sphere, and hide it.
Well we have what looks like some kind of
| | 04:00 |
environment in here already.
Yeah we got this kitchen here, so I'm
| | 04:02 |
going to hide the kitchen image and then
just change my environment.
| | 04:06 |
To a constant black, there we go.
So we have a nice black environment, and
| | 04:11 |
then I'm going to grab this painted HDR.
Let's make this a little bigger so we can
| | 04:14 |
see what we're doing.
That's the zero key on the numeric keypad
| | 04:18 |
to make this larger.
I'm going to drag this down into the environment.
| | 04:21 |
As soon as it gets into the environment,
it's going to map as the environment color
| | 04:25 |
because that is.
Essentially what it is becoming.
| | 04:28 |
That's your option when you're in the
environment.
| | 04:30 |
And, I want to see what's going on here
so, in my lower view, my perspective view,
| | 04:34 |
I'm going to go where it says advanced,
open gel, change my background to
| | 04:37 |
environment, looks like we're there, and
let's make sure that this environment is
| | 04:41 |
visible to the camera.
There we go.
| | 04:46 |
So we've got that.
And I want to make sure that I go up to images.
| | 04:52 |
And I find this image, and save it.
So now what I'm going to do is grab this
| | 04:57 |
painted environment HDR.
And I'm going to drag it down into the environment.
| | 05:02 |
And it's going to come in as an
environment color.
| | 05:05 |
That's your only option that you have
here, is Environment Color, and you
| | 05:08 |
want to make sure that your projection
type is set to Spherical.
| | 05:11 |
It may drop inset to a UV map, in which
case you're going to get something kind of
| | 05:14 |
crazy and blown out, because it's not
going to know how to map anything to the
| | 05:17 |
environment, because the environment is,
you know, everything around you that
| | 05:20 |
doesn't have a UV map.
So, if I change that and set it up to
| | 05:25 |
Spherical It's going to pop right in.
If you want to see, a preview of this in,
| | 05:29 |
real time here, you can, go here in your,
perspective view, click on where it says
| | 05:32 |
Advanced OpenGL, and then GL Backgrounds,
change that to your Environment.
| | 05:38 |
By default it's going to be the Gradient,
which is just going to give you this.
| | 05:41 |
If you want to see, that in your
environment, go down to background, change
| | 05:44 |
that to Environment, and then I can
actually see, what's going on.
| | 05:48 |
And actually, here I can see that It's
facing the wrong direction here.
| | 05:53 |
So I'm going to change that to Spherical
on the Y.
| | 05:55 |
And it updated in my viewport, but it
looks like it's not reading correctly in
| | 05:59 |
my view here.
But that's alright because I can see that
| | 06:03 |
it's rendering properly up here.
I've got my ground colors down there, and
| | 06:08 |
we're set and ready to go.
So.
| | 06:12 |
Now, you have even more options with this.
So if you want to be able to create
| | 06:15 |
something that is going to render more
quickly, I'm just going to create some
| | 06:19 |
duplicates here and, in this case, my
environment has relatively low resolution
| | 06:22 |
so I'm not going to worry about creating
an image map that's just going to be seen
| | 06:26 |
by the camera.
I'm just going to create two environments.
| | 06:33 |
If you have a really high resolution
image, it's a good idea often to make
| | 06:36 |
three duplicates here.
And you would save one duplicate as a JPEG
| | 06:41 |
in high resolution.
That's just going to be what you see if
| | 06:45 |
you see it in the background.
In this case we're just seeing our
| | 06:47 |
environment so, it's not going to matter.
And then you would also create a secondary
| | 06:51 |
one that will be visible to reflections.
Which I'll make this one visible to
| | 06:55 |
reflections and I'll turn off visible to
indirect rays.
| | 06:59 |
And then this one I only want visible want
to the reflection.
| | 07:04 |
And I can do one of two things with this
to really speed up my renders.
| | 07:07 |
I can either go ahead and make a duplicate
of this.
| | 07:09 |
So if I go Over to Photoshop and I open up
that image.
| | 07:17 |
Here's my painted HDR image.
And what I can essentially do is really
| | 07:25 |
scale this down.
So let's take my image size down to
| | 07:29 |
something like.
256.
| | 07:31 |
Ok, so it's really small.
And then, just to make sure that this
| | 07:35 |
doesn't get anything weird with the lower
scale, I'm also going to go in and blur it
| | 07:40 |
a bit.
Blur it, so let's change that down to
| | 07:45 |
maybe about 8, like that.
Click OK.
| | 07:47 |
And then I'm going to Save As here.
Make sure I'm also saving it as an HDR.
| | 07:52 |
And I'll call this HDR Light.
I'll save that.
| | 07:57 |
Click OK.
And I hop back over to Modo.
| | 08:00 |
And on this one, I'm going to load an
image.
| | 08:03 |
And I'm going to load the HDR Light.
And with that lower resolution one, it's
| | 08:07 |
basically just going to be reading the
color values.
| | 08:09 |
And there's going to be a lot less for
Modo to sample.
| | 08:15 |
In my render, my global illumination, I
can turn my radiance rays down because
| | 08:18 |
there's less for it to sample, and it's
also just generally going to render faster
| | 08:21 |
even if I don't do that.
But by leaving my second one at the high
| | 08:25 |
resolution as visible to my reflections
and my refractions and my background.
| | 08:30 |
I'll still get nice, clean reflections.
Now, the other option that you have is to
| | 08:34 |
just take the version that's already in
there and turn on Antialiasing and
| | 08:38 |
increase the Minimum Spot.
And by increasing that Minimum Spot,
| | 08:42 |
you're going to be essentially blurring
the image out.
| | 08:45 |
Now, in this case, I also wanted to make
the image a lot smaller, so I did go in
| | 08:47 |
and save that duplicate that is a lot
smaller and blurred.
| | 08:51 |
And then that's handling my lighting And
the other one is handling my reflections.
| | 08:57 |
So, let's just go ahead and fire off a
quick render, here.
| | 08:59 |
And this should render relatively quickly
on those settings.
| | 09:03 |
Only maybe about 20 seconds or so for the
render.
| | 09:08 |
But you can see here that we're going to
get something that's almost identical to
| | 09:13 |
the original image-based Sphere, so this
is just taking it and making it simpler
| | 09:18 |
way of creating my lighting with that.
That's going to be something a little bit
| | 09:25 |
easier to package.
I can just send off that one OpenEXR file,
| | 09:27 |
the higher resolution one, to somebody
else who might be working on this scene,
| | 09:31 |
and they can really quickly render that.
So let's see here, let's go up to my top
| | 09:36 |
one and I'm just going to turn off the
visible to indirect rays and I'll go to my
| | 09:40 |
lower one and turn on visible to indirect
rays.
| | 09:44 |
And, this is a relatively smooth and not
very detailed image anyway, but overall it
| | 09:50 |
should give me a little bit of a render
speed increase and smooth out.
| | 09:59 |
A lot of the lighting in general.
Now you're not going to get sharp shadows
| | 10:02 |
off of this, but if you want those you can
always go in and add in something like a
| | 10:05 |
spotlight to kind of pick those up.
But there you can see the difference is
| | 10:10 |
relatively minor.
But the higher the detail that you paint
| | 10:16 |
into your image The more this will be
necessary to keep your rendering artifacts
| | 10:20 |
low and keep your render times low as
well.
| | 10:24 |
So there you can see the difference is
only about a little less than a second.
| | 10:29 |
But if you do happen to be getting high
render times, that's going to be important
| | 10:32 |
option to consider, especially if you've
painted in a lot of.
| | 10:36 |
Detailed lights that are using you know
photographic light images and things like that.
| | 10:40 |
Doing this will really help to knock your
render time down and even more importantly
| | 10:43 |
than that smooth out your background.
Smooth out your lighting and smooth your
| | 10:48 |
shading in general and give you a really
good clean pristine look that doesn't
| | 10:53 |
detract from the products that you're
trying to visualize.
| | 10:59 |
| | Collapse this transcript |
|
|
7. Rendering and Render SettingsCamera settings for finished renders| 00:02 |
Setting up the camera for your final
renders is one of the most important parts
| | 00:05 |
of capturing the right look for your
products.
| | 00:08 |
Now in this case I have a camera angle
that's about middle of the cans, and
| | 00:11 |
looking up towards them, and has a little
bit of distortion on the perspective.
| | 00:17 |
And The reason that I'm going for that is,
I want these cans to appear a little bit
| | 00:20 |
bigger than life.
In this case, I want them to look kind of
| | 00:23 |
strong and bold.
Without looking really distorted.
| | 00:27 |
And so I have enough perspective for my
shot.
| | 00:30 |
I think that conveys it well.
And I could still see and read all the
| | 00:34 |
labeling very well.
Now, if you'd like to follow along with
| | 00:38 |
this, I have the render scene start file.
And what this scene has in it, if you give
| | 00:42 |
it a quick look, is it has the three cans.
It has some polygonal drops on it.
| | 00:49 |
So let's go in here and let's go to our
model quad view for a minute.
| | 00:54 |
It has some polygonal drops on it.
And if we open this up, you can see I've
| | 01:00 |
got four water drop meshes that are just
sitting on the can itself.
| | 01:06 |
On the front can I could duplicate these
over to the secondary cans but I don't
| | 01:09 |
think they are really necessary.
And it's all inside that water folder.
| | 01:14 |
And we also have the blob that's
controlling the condensation on the can
| | 01:19 |
and that's driven by.
An empty mesh here that just has vertices
| | 01:25 |
in it.
Which if I zoom in you'll be able to see here.
| | 01:30 |
There you go.
You can see those straight vertices.
| | 01:35 |
And those were just painted on with the
particle paint tool.
| | 01:38 |
And then there is another blobs that is
set to Some vertices that are in this
| | 01:42 |
splash blobs layer, and you can see, those
ones are just kind of spraying outwards.
| | 01:49 |
The overall effect is that the hands have
been kind of slammed down on the ground,
| | 01:53 |
and waters been flicked up into the air.
So that's the look that I'm going for, and
| | 01:57 |
you won't see those necessarily you can
turn them on in the open GL view, but.
| | 02:02 |
It gets a little bit cluttered looking so
I have those turned off for now and you
| | 02:04 |
can just see those though in the render
preview.
| | 02:07 |
You can see the condensation on the cans,
and you can see big drops, splashes coming
| | 02:11 |
off from underneath the can.
Now, as far as environment goes I have a
| | 02:16 |
painted HDR which we can look at here.
Set that to environment.
| | 02:24 |
(SOUND) It's just a simple one with a
couple of windows and some gradient down
| | 02:27 |
underneath to kind of warm it up.
So, I'm looking for getting a little bit
| | 02:32 |
of warm color up here, a little bit cooler
up here and then I've got some little bit
| | 02:35 |
cool color inside the transparency of
these splashes just to kind of give a nice
| | 02:39 |
little balance between cool and Warm
colors.
| | 02:43 |
And then I also have on my can itself, I
just have turned on, a really simple
| | 02:49 |
material here over the top of everything.
Which is just 80% diffuse, it's
| | 02:57 |
essentially just a white default material
and I like to do that when I have, a kind
| | 03:02 |
of complex busy material.
So I can get a better view of what's going
| | 03:07 |
on with the scene composition itself.
It helps me set up cameras and kind of
| | 03:11 |
focusing on one thing at a time and then
all I have to do to get that off is just
| | 03:15 |
to hide that one material that's up over
the top and then all of my complex
| | 03:18 |
materials underneath will pop right
through.
| | 03:24 |
Okay, but for right now I'm going to leave
that off so that we can see the camera
| | 03:28 |
perspectives a little more easily.
I actually have four cameras set up also
| | 03:32 |
in this scene so we can look at how you
can set up cameras to achieve different results.
| | 03:38 |
A big part of this is going to have to do
with whatever product it is you're shooting.
| | 03:41 |
In this case, I kind of want them to
appear big and bold but not overly so.
| | 03:45 |
So I got a camera relatively close and if
we look at my settings for the camera, you
| | 03:48 |
can see that the focal length is about 19
millimeters.
| | 03:51 |
And the camera then is panned out enough
to where the blobs are not getting to the
| | 03:56 |
edge of the frame so that everything is
nicely framed inside of there.
| | 04:02 |
Now, if you want to get a slightly
different look, I've got another camera up
| | 04:06 |
here that is zoomed out a bit, has a focal
length of 42mm.
| | 04:10 |
So a little farther out here.
And there we go.
| | 04:14 |
You can see this in the upper right hand
view.
| | 04:16 |
Which actually, we could just make larger
so we're not waiting on the (INAUDIBLE) render.
| | 04:21 |
Now, this one isn't framed as much, the
splashes are going to come off the screen more.
| | 04:26 |
It is moved out a bit and then zoomed in,
a little bit more.
| | 04:32 |
And the effect that that's going to give
is a little bit less distortion.
| | 04:36 |
So, they're going to read relatively
cleanly.
| | 04:39 |
In this case I kind of wanted to see the
tops of the cans so you could see the
| | 04:41 |
modelling work on the tabs and whatnot.
It's not going to be the look I want for
| | 04:45 |
the finished one but it's another one that
I've got in here.
| | 04:48 |
And then also if I want to get even more
kind of flat and direct so that the
| | 04:51 |
labeling really shows up clearly I've got
this one that's drawn way back and has a
| | 04:55 |
focal length of 97 millimeters.
And you can see that one here in my Render preview.
| | 05:03 |
Is giving me a really flat, direct look.
I'll be able to read the logos very cleanly.
| | 05:07 |
This might be the kind of one that I would
use if I'm going to take out the splashes
| | 05:11 |
so that I can just get a nice clean read
on the logos and the labeling on the cans.
| | 05:17 |
Also if I was going to do multiple
different can labels this might be a nice
| | 05:20 |
way to showcase those because I think it's
going to keep them relatively even in the view.
| | 05:26 |
Now the further out that you get and the
more you zoom in, the more you're going to
| | 05:30 |
approach a perspective free kind of
orthographic view.
| | 05:35 |
Just keep that in mind as you zoom out.
And you can get that zoom just by holding
| | 05:39 |
down Option or Alt on the PC and Ctrl and
Right Mouse clicking in your real time
| | 05:44 |
Camera View.
If you do this in the Render preview, it's
| | 05:49 |
not going to work.
In the preview here, that will allow me to
| | 05:55 |
adjust my focal length, manually and
visually here.
| | 06:00 |
And you can see down there on the bottom
right that my focal length and my angle of
| | 06:03 |
view are changing correspondingly as I do
this.
| | 06:06 |
Now the one issue with this is that You
can't get a focal length lower than 15
| | 06:09 |
millimeters doing it this way.
And if you happen to want a really kind
| | 06:14 |
of, fish-eyed look.
Like, this camera over here.
| | 06:17 |
Which I'm trying to select.
Camera three here.
| | 06:27 |
You can see that here's this really kind
of more fish-eyed effect.
| | 06:30 |
In order to get beyond 15 millimeters, you
need to actually change the focal length
| | 06:34 |
down here manually inside of the
projection part of the camera view.
| | 06:40 |
Setting.
So that will allow you get get beyond 15 millimeters.
| | 06:43 |
And if you want kind of a much more
distorted view, then that's how you would
| | 06:46 |
have to do that.
You have to come in here and do that
| | 06:50 |
because if I hold Option + Ctrl, and then
Right Mouse button here, it's immediately
| | 06:53 |
going to snap me up to 15 millimeters, and
if I drag to the left you can see I can't
| | 06:56 |
get anything else.
I can zoom in more.
| | 06:59 |
I can zoom in all I want, but I can't zoom
out beyond 15 millimeters.
| | 07:03 |
And I have to come down here to that.
Focal length field to get that to work.
| | 07:09 |
For the sake of this video here, I'm
going to go back to the first camera view.
| | 07:14 |
That's going to give me kind of that
middle line one where I'm getting a little
| | 07:16 |
bit of camera distortion but not too much.
I've got all my blobs framed and ever
| | 07:19 |
thing in general is going to work pretty
well.
| | 07:22 |
Now a couple of other camera setting that
you want to keep in mind Using depth of
| | 07:26 |
field and motion blur can really help add
extra impact to your finished look.
| | 07:32 |
It's going to depend on how much render
time you have and then how much depth you
| | 07:34 |
want to give the scene and how much motion
you want to give the scene.
| | 07:38 |
I don't have anything moving in here so
turning on motion blur isn't going to do
| | 07:41 |
anything in this case.
But if I were to do something like animate
| | 07:45 |
some distortion, or something like the
blobs moving, then that Motion Blur is
| | 07:49 |
going to help to kind of, sell that
motion.
| | 07:53 |
In this case, if I turn on my Depth of
Field, I will get an effect going on there.
| | 07:58 |
So I'm going to grab camera 1, turn on
Enable for my depth of field, and now
| | 08:02 |
you'll see that these blobs here that are
more in the foreground are going to, kind
| | 08:07 |
of, blur out.
As are the back edges of the cans that are
| | 08:12 |
on the sides as well.
The stuff here in the front is going to
| | 08:16 |
remain nice and in-focus.
Now you can either use the auto-focus in
| | 08:19 |
order to get this to hone in, but
sometimes it's going to hit a spot in the
| | 08:22 |
center of your Image that's not exactly
what you want in focus.
| | 08:27 |
So if you want a good idea of how this
works, I'm going to go here to my
| | 08:30 |
Perspective View, and hold Control and the
space bar to get my little camera, or my
| | 08:35 |
Perspective popup, here.
And I want to go to the Top view, so it
| | 08:40 |
changes my view.
There we go, top view.
| | 08:45 |
And you can see with the camera selected,
you actually get a visualization of where
| | 08:49 |
that focal length is lying.
And it's going to be this back plane.
| | 08:53 |
So if I increase my focal distance.
You'll see that back plane is going to move.
| | 08:58 |
And so I can effectively, you know, focus
on the.
| | 09:03 |
Corner of this can that's back here on the
right, and then the foreground can is
| | 09:06 |
going to become out of focus, or I can
decrease that more and kind of get my
| | 09:10 |
blobs that are really close to us in focus
or the cans will pop out of focus.
| | 09:16 |
If I hit auto focus, it's going to take me
kind of to a spot that I don't want to be
| | 09:20 |
in this case.
So, I'm just going to manually pull that
| | 09:26 |
back until it's right on, about 185
millimeters.
| | 09:32 |
There we go.
That's going to give me a nice rendered
| | 09:36 |
look here for my depth of field.
Now your F-stop is going to control how
| | 09:41 |
deep that focal length blur is.
The lower the number, the more shallow the perspective.
| | 09:48 |
So the more blur you'll get.
If you set it all the way down to
| | 09:53 |
something like a large aperture 1.4,
outside of the area that's actually in
| | 09:56 |
focus, it's going to blur off very, very
quickly.
| | 10:00 |
And then higher numbers are going to
decrease that effect.
| | 10:03 |
And this also is going to depend on what
kind of camera you are using.
| | 10:06 |
So if I'm using this camera that's way
back here and zoomed in then, an f-stop of
| | 10:10 |
4 is going to give me very little depth,
because the relative distance.
| | 10:16 |
Between the can and these blobs relative
to the distance of the camera is, is
| | 10:20 |
pretty small.
So that's something to keep in mind as you
| | 10:24 |
work on those settings.
So, you can also do this in post, so I
| | 10:29 |
would say be careful on the focal length
blur.
| | 10:34 |
Just because depth of field can take a
long time to render, and if you don't get
| | 10:37 |
the right results, it could cause you to
reder the entire scene over again.
| | 10:42 |
So just something to keep in mind.
Be careful on that, and definitely I would
| | 10:46 |
say do lower resolution tests before you
fire off the finished one.
| | 10:50 |
Because you'll typically need higher anti
alias settings in order to get a good
| | 10:54 |
quality render.
So all those options kind of go together
| | 10:58 |
to give you a nice set up for your
finished camera and will help you to set
| | 11:02 |
the scene properly for your finished
renders of your product visualizations.
| | 11:09 |
| | Collapse this transcript |
| Rendering with multiple outputs| 00:02 |
Being able to adjust your finished renders
after the fact in Photoshop or another
| | 00:06 |
image editor is a very important part of
creating good product visualization and
| | 00:10 |
any kind of rendering for that matter.
Now, by default, Modo gives you a couple
| | 00:16 |
of render outputs inside of your Shader
Tree here.
| | 00:20 |
So if you go to the Shader Tree tab and
then under the Render tab, you'll see that
| | 00:23 |
the first two things here are a final
color output, which we can select and see
| | 00:25 |
that it has some options, and then an
alpha channel output.
| | 00:30 |
Now in this case the alpha channel is not
going to do us a lot of good because we
| | 00:33 |
have a solid backdrop behind the camera.
And the only thing that will actually get
| | 00:37 |
showing up inside of this is going to be.
The refracted area that is giving us parts
| | 00:43 |
of the image that are off of the set.
So where we see little bits of reflection
| | 00:48 |
that are being reflected and refracted
from offset, where there isn't a scene in
| | 00:51 |
the background.
Now, we'll get kind of some little bit of
| | 00:55 |
alpha output in there.
But for the most part, in this kind of a
| | 00:58 |
scene the alpha channel itself is not
going to do us a whole lot of good.
| | 01:02 |
Now there are, however, some very
important render outputs that will help
| | 01:05 |
you get better quality finished renders or
allow you to completely reconstruct your
| | 01:09 |
renders after the fact and be able to have
more precise control over how you color
| | 01:13 |
correct, how you adjust, and fine tune
your finished renders.
| | 01:19 |
So I can either go here to add layer and
Special and choose Render Output, which
| | 01:24 |
I'll do here for this first one.
And this will add in a render output.
| | 01:31 |
And by default, it's going to bring in
another final color render output which,
| | 01:33 |
in this case, isn't what I want.
you'll notice it's also going to be darker
| | 01:38 |
because the default final color output
comes in at a Gamma of 2.2 and if you just
| | 01:41 |
drop one in any render output that you
just dropped into the scene is going to
| | 01:45 |
come in with a Gamma of 1.0.
You should probably look down here, you
| | 01:51 |
can see output Gamma is 1.
If I change that to 2.2, it's going to pop
| | 01:54 |
back to the same kind of level of
coloration that the other one was.
| | 01:58 |
All right.
So, I don't really want a final color
| | 02:01 |
output again, though, because I've already
got that.
| | 02:04 |
There are a few here that can be very
useful and a couple of them are right up
| | 02:07 |
towards the top.
There is the depth output which, if I turn
| | 02:11 |
on, I can preview in my render here by
clicking on where it says Shading and
| | 02:14 |
going down.
And you can see Shading is just going to
| | 02:18 |
give me the full finish render.
I also have the option for looking at any
| | 02:23 |
of my render outputs.
So I'm going to go to my depth output.
| | 02:27 |
And at the default setting, it's going to
be almost white with a little bit of grey.
| | 02:30 |
And that's because the overall depth, my
maximum depth, is going to be 10 meters.
| | 02:35 |
And this scene is much smaller than 10
meters.
| | 02:37 |
It's actually, more along the lines of
about a meter.
| | 02:41 |
So, I'm going to pull this back here.
What I want to do is to frame up my
| | 02:47 |
objects, so that the ground kind of gets
the black line of gradation just behind my
| | 02:51 |
objects or a little ways behind them.
But, if I draw this in closer, it's going
| | 02:58 |
to increase the contrast with my
foreground elements.
| | 03:01 |
So now you can see, if I've drawn this in
like this, now I can tell that some of
| | 03:04 |
these blobs, the lighter colored ones, are
closer to the camera, while the ones that
| | 03:07 |
are a little bit more shaded are farther
away.
| | 03:11 |
I can tell that this can is closer to us
and that it's rounding away from us, as
| | 03:15 |
are these other cans.
This one here is a little bit farther
| | 03:19 |
away, and this one on the right is even
farther away.
| | 03:22 |
So you can see that depth there even more.
It's up to you exactly how far you want to go.
| | 03:28 |
You usually want to get as much contrast
as you can without clipping your actual objects.
| | 03:33 |
Now, if you do click them a little bit,
it's not the end of the world.
| | 03:37 |
But personally, I like to keep all of my
objects that I might need to do something
| | 03:40 |
with, depth of field add some kind of fade
off of fog or something like that.
| | 03:46 |
I want to keep those all in my range here
so, a maximum depth of about 266 looks
| | 03:50 |
like that does that.
At this point, I can even kind of tell the
| | 03:55 |
difference between the drops on the cans
and the cans themselves, so this is going
| | 03:58 |
to be a really nice depth for that.
And this can help me to get a nice
| | 04:02 |
finished quality render.
So, I'm going to get another one here and
| | 04:07 |
instead of going up to that menu, I can
just duplicate one that's here, and then
| | 04:10 |
right click on it and change the effects.
So the other one that I'll put on here
| | 04:14 |
right off the bat is ambient occlusion.
If I go and preview that ambient
| | 04:17 |
occlusion, first it's going to look really
rough, but as soon as it starts to refine
| | 04:20 |
a little bit.
Now you can kind of see the point behind
| | 04:23 |
ambient occlusion.
The overall idea here is to kind of take
| | 04:26 |
light coming from all different
directions.
| | 04:29 |
That would be like ambient light, and
seeing what areas are going to be occluded
| | 04:32 |
or hidden from that ambient light.
Now you notice by camera did kind of bump
| | 04:38 |
back and forth there.
If you want to lock that down and keep
| | 04:41 |
that from happening, you can just go up to
the camera.
| | 04:44 |
That you're rendering from, right-click on
it, and click on this lock unlock option.
| | 04:49 |
Sometimes an inadvertant bump of the
scroll wheel can cause that to move and,
| | 04:53 |
then you'd have to wait for the preview
again.
| | 04:56 |
Now.
If you want to be moving your camera or if
| | 04:59 |
you haven't setup your cameras how you
want them yet then you might want to leave
| | 05:02 |
that off.
But in this case I have them set up pretty
| | 05:04 |
much how I want so I can go ahead and lock
that off.
| | 05:07 |
So here with this ambient inclusion you
can see that I start to get a real good
| | 05:10 |
idea of where there are going to be more
shadows based off of the details of the model.
| | 05:15 |
Now this one actually is going to be a
little bit heavy for my taste.
| | 05:19 |
You can see that because we're even
getting some gray on this back wall.
| | 05:22 |
And, really, I don't care about that back
wall showing up at all.
| | 05:25 |
I don't need any of that detail.
So, in order to get that out of there and
| | 05:28 |
to kind of lighten up the whole thing and
get something a little bit more usable --
| | 05:32 |
and that gets a little bit busy down in
here -- I can increase one setting on my
| | 05:35 |
Ambient Occlusion.
And that is my occlusion range.
| | 05:42 |
At zero meters it means that basically
that ambient light isn't going to
| | 05:46 |
penetrate anything.
But, as I increase this slightly, it's
| | 05:50 |
going to make the light kind of pass
through thin objects.
| | 05:54 |
So, if I take this up to something like,
for example, five millimeters Anything
| | 05:58 |
smaller than 5 millimeters essentially is
not going to cast a shadow at this point.
| | 06:04 |
As you can see, this is including all of
my blobs, for the most part.
| | 06:08 |
And this is a little bit overdone, and
it's making this just kind of, little bit
| | 06:11 |
of a blotchy mess, and not very readable.
So as I draw this up higher, (no period)
| | 06:18 |
There's going to be kind of a breaking
point where you'll get more, depth versus,
| | 06:22 |
having it just disappear.
So, probably just take this up to
| | 06:27 |
somewhere like, 20 millimeters.
See now, I'm not losing as many of my
| | 06:32 |
little blobs.
I'm starting to get some detail from back
| | 06:37 |
inside the can, some of the detail back in
here.
| | 06:40 |
So, you can adjust this at will in order
to get the kind of depth that you want, or
| | 06:44 |
if you don't mind the little bit of
clipping and getting some background grey
| | 06:48 |
there you can just put it down to zero.
And that's going to give you kind of the
| | 06:53 |
best baseline without having to touch it
setting, that will give you a little bit
| | 06:56 |
of shade coming off of everything.
Though it might tend to be a little bit on
| | 07:01 |
the dark side, in which case you'll have
to brighten up if you're going to use it
| | 07:04 |
in Photoshop.
Another thing to look here is your
| | 07:07 |
Occlusion Rays.
because at 64 rays, this is always
| | 07:10 |
going to look pretty grainy and rough.
And I can take this and set my quality on
| | 07:14 |
my preview render to finished render.
And then, if I mouse over this and it's
| | 07:20 |
not going to get any better, so it's a
little bit grainy.
| | 07:24 |
Alright.
So I'm going to set this back to extended
| | 07:26 |
cause I like to be able to mouse over and
get a good clean view.
| | 07:30 |
And usually, I go for 128 or 256 rays.
Just remember that the more rays you have
| | 07:35 |
the longer it's going to take to render.
Ambient occlusion doesn't add a ton of
| | 07:38 |
render time.
But it does add some.
| | 07:41 |
So it's something worth keeping in mind.
If 128 looks too rough, go up to 256.
| | 07:46 |
But I would usually start off that way
instead of going the other way and having
| | 07:50 |
to bump it down if it looks too clean
because whoever thinks a render looks too clean.
| | 07:55 |
I know I don't.
Let's go back up here and look at just a
| | 07:58 |
couple more that are really important to
our work flow here.
| | 08:01 |
So I'm going to duplicate this.
I'm going to right click on the effect
| | 08:04 |
here and I'm going to go down here and I'm
going to change the effect of this one to
| | 08:07 |
Surface ID.
And what the Surface ID is going to give
| | 08:11 |
you, and we'll go ahead and preview this,
is a nice kind of flat render here that
| | 08:15 |
gives you ever individual surface in the
scene depicted as a color.
| | 08:21 |
And these are essentially something that
you can use to mask off different areas,
| | 08:25 |
so I could use the red to make a mask for
just my water drops.
| | 08:29 |
I could use this green here to make a mask
for this can another one for this can and
| | 08:32 |
another one for this can.
The background and then for the individual
| | 08:35 |
little splotches of water that are on
there.
| | 08:38 |
Now this is going to allow me to make
fine-tuned adjustments to specific
| | 08:42 |
materials inside of my scene.
Now one thing to notice is that this is
| | 08:47 |
going to go by a surface ID.
So an entire object here.
| | 08:52 |
So I have like, in my Imported Shaders, I
have this V2B, my overall can logo.
| | 08:58 |
It's not breaking this up into the
individual different layers.
| | 09:03 |
It doesn't do that.
It only gives me kind of the entire
| | 09:05 |
material set as a whole.
So I've clicked on this can.
| | 09:09 |
I pressed the N key.
I assigned this material to it.
| | 09:12 |
That's what's going to get separated out
here.
| | 09:14 |
This takes almost zero time to render, and
gives you some really fantastic options
| | 09:17 |
out with your finished render.
Let's go up here and I'm going to add in
| | 09:21 |
one more here, and that is going to be a
shading normal, so let's go down and we'll
| | 09:27 |
find shading normal.
And this is one of those ones that looks
| | 09:32 |
really funny, but is really useful in the
finished product.
| | 09:36 |
So, if you look at this, you can see that
it looks essentially like a normal map,
| | 09:40 |
and what this is going to give us is the
ability to separate out individual channels.
| | 09:45 |
For left and right, up and down, and then,
kind of, forward to back, depth.
| | 09:50 |
And that will allow us to add in extra
highlights and some extra glints, and
| | 09:54 |
things like that.
For example, I wanted to separate off the
| | 09:58 |
water drops with their surface ID and then
I could use my red, green and blue
| | 10:02 |
channels are each going to have one of the
directions of lights.
| | 10:08 |
It's going to give me my shaded edges on
the right-hand side.
| | 10:11 |
So, I can use that surface ID for the
water drops, and then the red channel for
| | 10:16 |
my shading normal.
And it's going to give me this grayscale
| | 10:20 |
image that I can then screen over the top
and adjust and get, you know, a little
| | 10:23 |
more depth out of my finished look for
that specific area.
| | 10:28 |
It just gives you a few extra things to
tweak and adjust that, doing otherwise you
| | 10:32 |
don't have that.
Setting turned on is going to you a long
| | 10:36 |
time to do, so I would always recommend
turning this one on, cause you never know
| | 10:39 |
when it might be useful.
Look at just a couple more here that can
| | 10:44 |
be super useful, and we won't go into them
too much, but I'm going to look at the
| | 10:49 |
Defuse Shading Total.
And this is going to give me, basically
| | 10:54 |
just where I have diffuse color.
Now I won't let it finish rendering out
| | 10:57 |
too much.
We'll just keep moving here so you can
| | 10:59 |
see, just diffuse color there.
So lets, duplicate that one.
| | 11:04 |
And, I also have, reflected, colors in
this one, so I'm going to go down and
| | 11:07 |
choose Reflection shading.
And then we'll check and see that
| | 11:11 |
reflection shading and this is going to be
just areas where the color that's coming
| | 11:14 |
to the screen is based off of a reflective
property.
| | 11:18 |
And remember all these are going to be set
to a gamma of 1.0, so they're going to
| | 11:21 |
look a little bit dark until you turn that
up.
| | 11:25 |
Now let's duplicate that one and then the
other thing that I have in here because I
| | 11:28 |
have those transparent water drops, is
some transparent shading.
| | 11:32 |
So, let's tun on Transparent Shading.
So between these three, diffuse shading,
| | 11:36 |
reflection shading, and transparent
shading, I can actually recreate a
| | 11:40 |
complete image, and then have direct
control over how my reflectivity is, how
| | 11:44 |
my transparency flows, and that kind of
thing.
| | 11:49 |
So let's go down here and make sure that
all of these are set to 2.2.
| | 11:54 |
And they are (SOUND) and there we go.
So now I have all of those different passes.
| | 11:59 |
And all these put together will give me
something that I can reconstruct really
| | 12:03 |
well inside of Photoshop.
And that's the simple way to do passes
| | 12:07 |
inside of Modo that will help you amp up
the quality and the controllability of
| | 12:11 |
your finished rendered images.
| | 12:14 |
| | Collapse this transcript |
| Render passes| 00:02 |
Sometimes, basic render passes are not
going to give you enough information to
| | 00:05 |
fully edit your image and post to the
extent that you might want to.
| | 00:10 |
And for that, Modo has Render Pass Groups.
And this is a fantastic way of giving you
| | 00:16 |
even more control over what you get out of
your finished render.
| | 00:19 |
If you want to follow along with this one,
you can open up the
| | 00:21 |
Render_Passes_Groups.lxo file, and that
will get you right here.
| | 00:25 |
And we're going to start right away just
by looking at how to create individual
| | 00:29 |
alpha channels for the cans, the drops,
and the background, and everything kind of individually.
| | 00:36 |
So, I'm going to start by creating a pass
group.
| | 00:38 |
And this is going to be the key to making
any render passes at all in this manner.
| | 00:43 |
You have to have a pass group to start.
So let's make a new one, I'll call this
| | 00:47 |
can_passes and so render pass group.
And I'm going to set it as empty here to start.
| | 00:54 |
Now that I have a pass group, I can start
creating individual render passes.
| | 00:58 |
You can see that right now I don't have
any.
| | 01:00 |
And before I do that, though, I'm going to
start by kind of thinking about some
| | 01:05 |
things that I might want to do with my
finish render here.
| | 01:11 |
Have any individual object just be kind of
completely flat rendered so.
| | 01:17 |
going to turn off specularity here even
set my Diffuse Amount to 100%.
| | 01:21 |
And, basically, at this point everything
in the scene is just going to get this
| | 01:26 |
basic white matte coating to it.
So I don't want this in my main render
| | 01:31 |
pass here, so I'm going to hide that.
And if you make changes here in just the
| | 01:37 |
pass group, but with your Passes set to
None, those Passes will pass on
| | 01:41 |
automatically to everything underneath.
So, if I hide my just overarching material
| | 01:49 |
here, at first It's not going to show up
in any of my subsequent ones unless I turn
| | 01:53 |
it on.
So now what I'm going to do is I'm
| | 01:57 |
going to make a new pass layer now, and
this one I'm going to call water.
| | 02:01 |
So, I'm going to take the water and now
I'm going to go over and I'm going to hide
| | 02:06 |
all three of my cans.
Let's just click on the eyeball behind
| | 02:11 |
those, make sure I get all of them, and
then, I'm going to hide my backdrop as well.
| | 02:18 |
Which is down here, mesh four, I believe
is my backdrop, and as soon as I do that
| | 02:24 |
we'll just end up with the water drops and
the lighting.
| | 02:31 |
There we are.
And now I"m going to go back here and I'm
| | 02:36 |
going to turn on...
This basic material, because I don't want
| | 02:40 |
the transparency or anything here.
And also, you don't,I don't need a Final Color.
| | 02:45 |
I don't need a Depth Output, I don't need
Ambient Occlusion.
| | 02:49 |
(SOUND) I don't need Surface ID.
I don't really need any of these, except
| | 02:53 |
for my Alpha Output.
So, now, I have this water passes that's
| | 02:57 |
just giving me the alpha channel for my
individual water drops.
| | 03:03 |
I could also turn on the like the finished
rendering color and be able to get some of
| | 03:07 |
this and add or multiply, or screen it
onto the other stuff.
| | 03:11 |
But I don't really need that, so I'm just
going to leave that as is.
| | 03:15 |
And now, you notice, if I go up to Passes
None, it's going to turn all of those back on.
| | 03:21 |
It's going to turn off the material.
It's going to unhide all of my objects.
| | 03:25 |
Just get everything back from that change
that I had made.
| | 03:28 |
And now I can go and make a new one.
This one I'll call Cans.
| | 03:31 |
We'll click OK.
And on this one once again I'm going to
| | 03:35 |
turn on that material so everything gets
that base coat to it.
| | 03:39 |
Let me maximize this here.
In this case I'm going to turn off My blobs.
| | 03:44 |
I'm going to turn of the Waterdrops.
And I'm going to turn of our backdrop.
| | 03:51 |
And now I'm going to be left with just the
cans, all by themselves.
| | 03:57 |
I've got my render passes, which I can go
over here.
| | 04:02 |
And again, I will turn all of these off
except for the alpha interrupt the final
| | 04:06 |
render and all that.
And that 's just going to save me render
| | 04:11 |
time here at the end because really all I
need is this alpha channel for that, so
| | 04:15 |
I'm not going to worry about anything
else.
| | 04:19 |
So, anything that you can toggle on or
off, anything that you can set a key frame
| | 04:23 |
to, anything like that can be a part of a
render pass.
| | 04:27 |
So here, let's go back up here and I'm
going to go again up to none, and I'm
| | 04:30 |
going to make a new one that I'm going to
call.
| | 04:33 |
Beauty and I'm not going to touch anything
on this one.
| | 04:36 |
This one I'm just going to leave as is.
So when I render, I'll get a beauty pass,
| | 04:41 |
I'll get a water pass, I'll get Achaeans
pass and if I wanted I could break it out
| | 04:44 |
towards the splashes in a pass, the drops
of can as a pass.
| | 04:50 |
And I could separate this out even
farther.
| | 04:52 |
I could also go in and do a render, where
I just get ambient occlusion without the
| | 04:56 |
drops there.
Or do ambient occlusion without the cans there.
| | 05:01 |
I'm not going to go through and do all of
those things.
| | 05:03 |
Because really you can see just by these
couple of things here, if I go up now and
| | 05:06 |
render these.
So, I'm going to go up to Render.
| | 05:09 |
and your passes and it's going to ask me
which pass group.
| | 05:11 |
I'm just going to choose can passes and
click ok.
| | 05:14 |
It's going to render this out for me.
There's my alpha for the splashes.
| | 05:18 |
There's my alpha for the cans.
and now it's goinna go in and it's goinna start.
| | 05:25 |
You'll notice it's going to do the
pre-passes and everything, cause now it's
| | 05:28 |
actually going to calculate global
illumination and all that good stuff for
| | 05:31 |
my Beauty render.
And when I'm done here, you can see that
| | 05:35 |
my output, I've got all of my render
outputs here.
| | 05:39 |
So we'll go ahead and let that make those
passes here.
| | 05:43 |
Can increase the size of it so it's a
little more visible.
| | 05:48 |
ANd this is going to give me a couple of
different PSD files that I can use to get
| | 05:52 |
all of my information out of it.
Or I can save all of my passes down to a
| | 05:57 |
single PSD file as soon as this is done.
And that will allow me to get a much more
| | 06:02 |
in-depth single image that will give me
all the different options of t he
| | 06:05 |
different render paths.
Here's the finished render.
| | 06:17 |
And, you can look here and see we've got
the Final Output Color.
| | 06:20 |
We've got our alpha, which in this case is
blank.
| | 06:22 |
And we've got Depth Surface ID.
Reflection shading, transparent shading,
| | 06:27 |
and our diffused shading.
So altogether those can, go to create a
| | 06:31 |
good quality finished image.
In addition to this we have our cans alpha
| | 06:36 |
and we have our water alpha.
And remember that in these passes, and you
| | 06:40 |
can also make any other changes you want,
you could do different versions where the
| | 06:43 |
cans have completely different labels on
them.
| | 06:46 |
Or just labels of different colors.
And you can mask those out, and mix and
| | 06:50 |
match and combine them all you want.
But the point is, you can render these out
| | 06:54 |
and get to where you have multiple camera
angles, multiple options and multiple
| | 06:58 |
different things turned on.
And then you just have to hit render once,
| | 07:02 |
go get lunch, and when you come back,
you've got all your things rendered.
| | 07:06 |
There's no need to sit there and render
out each thing one at a time.
| | 07:09 |
| | Collapse this transcript |
| Global illumination settings| 00:02 |
Fine tuning your Global Illumination
settings is a important part for
| | 00:04 |
optimizing your finish renders.
And in this case, I'm going to go here,
| | 00:09 |
select my render node.
And then, I'm also going to go in here to
| | 00:13 |
my can material and I'm going to turn on
my basic material up over the top.
| | 00:19 |
And that's going to allow me to get a
clearer view of just the lighting quality
| | 00:23 |
and, and can see what's going on here,
without having it encumbered by all of the
| | 00:28 |
different things with the texture.
Now, that said, you can have a little bit
| | 00:35 |
of roughness in the lighting quality.
And when applied over a more complex
| | 00:39 |
texture, you might not notice.
But it's usually a good rule of thumb to
| | 00:43 |
get things as clean as you can within
reason, and within a good render time.
| | 00:47 |
And then, add your textures back in
because you don't want to have some
| | 00:50 |
modeled lighting mess up your textures.
But that's going to be harder to read if
| | 00:55 |
you have everything turned on.
So, for that case, I'm going to go ahead
| | 00:58 |
and turn that back on here.
And (SOUND) I'm going to over to my Global
| | 01:01 |
Illumination settings.
And, then, let's just open this up, so we
| | 01:05 |
can see.
Now, I have a pretty basic set of,
| | 01:07 |
settings turned on here.
These are not default but they are the
| | 01:10 |
ones that I use for a lot of other things.
My Irradiance Rays are set to 128.
| | 01:16 |
That's relatively low but it's going to
keep a good relatively quick rate rays.
| | 01:20 |
My Irradiance Rate and Ratio are set to 5
and 3, respectively.
| | 01:25 |
And then, the Interpolation Value up to 8.
Now that's going to go together to give a
| | 01:28 |
good relatively smooth overlook that might
lack a little bit in some of the details.
| | 01:33 |
But overall should give a good balance
between speed and quality.
| | 01:37 |
Now the other thing to note is that I have
Indirect Bounces set to 2.
| | 01:41 |
Sometimes that Indirect Bounces setting
can cause a real slowdown in rendering.
| | 01:47 |
Although, often times I've noticed that
keeping it between 1 and 2 is a relatively
| | 01:52 |
minor difference.
But, one thing is, if we turn it down to
| | 01:56 |
1, it's going to refresh a little bit more
quickly on here.
| | 02:01 |
And without the extra bounce of light
coming off of the floor in the background,
| | 02:04 |
sometimes it's a little bit easier to see
how the lighting is going to affect the surface.
| | 02:10 |
In the case of these cans, you can see
that we're getting a really kind of rough
| | 02:13 |
overall look here.
So in this case, this would be where you
| | 02:17 |
want to increase your Irradiance Rays.
This is going to be the place that's going
| | 02:22 |
to allow you to get something a little bit
cleaner.
| | 02:25 |
So, I'm going to go up to 256, and then
I'm just going to use the paint to preview
| | 02:28 |
and I'm just going to Mouse over kind of
this middle section here, and see that we
| | 02:32 |
got that a lot of those splotches going
away.
| | 02:36 |
And I could go even higher just based off
of render time, the choice will be yours.
| | 02:43 |
But if you have a much faster machine than
me, this is just a relatively middle of
| | 02:47 |
the line quad core.
Then you can go a lot higher in your
| | 02:52 |
finished renderings.
So I think it's set at 512.
| | 02:55 |
It's getting pretty smooth over all.
And then, when I turn that second bounce
| | 03:00 |
back on, it's going to clarify a lot of
the lighting here.
| | 03:04 |
This should look pretty good.
Yeah, so that's pretty nice and clean
| | 03:07 |
through here.
And I'm just again, going to kind of mouse
| | 03:10 |
over this middle section.
Now alternatively if you want to really
| | 03:13 |
check these settings without having to
worry too much about the entire thing rendering.
| | 03:18 |
You can turn on the render region tool
which gives you kind of an interactive way
| | 03:23 |
to decide where you want your image
render.
| | 03:27 |
So, I'm just going to drag out kind of
this middle section of this can here and
| | 03:30 |
now you can see only that section is
going to render.
| | 03:34 |
So I can make this, render preview
maximized and now you can see it's only
| | 03:38 |
going to deal with, what's directly inside
of that little square.
| | 03:43 |
And this is going to let this, kind of,
refine itself much more quickly because
| | 03:46 |
it's not worrying about, the other stuff
outside of the scene.
| | 03:50 |
And overall, I'd say this is looking
pretty good.
| | 03:52 |
You will notice that we're getting a
little bit of kind of (INAUDIBLE)
| | 03:55 |
reflections where the light is focusing
off of the drops.
| | 03:57 |
And that's going to cause a little bit of
the modeled appearance, and that's okay.
| | 04:00 |
That's the kind of realistic thing that we
would be expecting.
| | 04:04 |
But it's where we see relatively smooth
not patchy coloration across.
| | 04:09 |
That's going to be.
Where we'd want to go.
| | 04:11 |
So, for this case, I'd say that a render
setting with a radiance rays of about 512
| | 04:15 |
is going to give me the best thing for the
best thing for the buck.
| | 04:21 |
Again, you can always go higher but you're
going to really sacrifice your render time.
| | 04:26 |
So that's going to help me get that there.
Another thing to keep an eye on is the
| | 04:33 |
indirect caustics.
Now if you don't want those caustic
| | 04:37 |
reflections here I'm going to turn this
down to none.
| | 04:39 |
And you'll actually see that this is
going to get much, much darker.
| | 04:43 |
And that's because we're not getting the
light focusing underneath these.
| | 04:46 |
Instead, all we're getting is the shadows
off of these, so something to be careful
| | 04:50 |
of when you can turn it off, sometimes it
will save you some render time.
| | 04:55 |
You can see this is clarifying more
quickly, but at great expense to the image quality.
| | 04:59 |
So, I'm going to set this over to
refraction only.
| | 05:05 |
And this should give us a decent mix.
It was set to both, which means that
| | 05:08 |
wherever light is hitting a bright,
reflexive surface, then that surface is
| | 05:13 |
going to cause a little bit of a, kind of,
bounced focus reflection of light.
| | 05:19 |
In this case, we would see it here at the
top side of this water drop here, but it's
| | 05:23 |
not present.
If I turn it to reflection only, the
| | 05:27 |
shadow under that might overpower it so
you won't see it, but if we change it to
| | 05:32 |
both, there we go.
Now you'll see that we won't have a dark
| | 05:37 |
spot here but it gets a little bit
lightened up by the reflection off of this
| | 05:40 |
drop there and then on the lower side of
it.
| | 05:43 |
You get the light passing through, and so
you get the indirect cause that's kind of
| | 05:47 |
giving you this little bit of reflection
over there.
| | 05:51 |
If you happen to be doing a scene that
mixes using CG light, like directional
| | 05:55 |
lights and spotlights with your Global
Illumination, then you might want to
| | 05:59 |
consider turning on the Direct Caustics.
And these you get a little bit more
| | 06:04 |
control over the actual render settings.
The total number of photons that are in
| | 06:09 |
there and then the local photons, and
remember, that just like anything else
| | 06:12 |
higher photons, which is equivalent to
higher arrays is going to give you higher
| | 06:16 |
render times as your total photons.
But its going to give you better quality
| | 06:22 |
more focused more realistic looking
caustics.
| | 06:24 |
A lot of times with the scenes that we've
been doing we've just been looking at only
| | 06:28 |
using Global Illumination.
But if you happen to be using some direct
| | 06:32 |
illumination that's where this direct
caustics will come in.
| | 06:36 |
And you can also cache those will walk
through mode just like you can cache your
| | 06:39 |
overall lighting with walk through mode.
And, if you're going to be using an
| | 06:43 |
animation, the only thing that has to be
recalculated for subsequent frames is
| | 06:46 |
whatever is in view, in camera view that
is, that wasn't in the camera view for the
| | 06:50 |
previous frame.
So that saves a lot of time with those
| | 06:54 |
irradiance caches.
When you're rendering out your finished
| | 06:58 |
renders of any animation.
So if you're going to move the camera
| | 07:01 |
around, if you're going to rotate the cans
or something like that, then definitely
| | 07:04 |
want to consider turning on Walkthrough
Mode.
| | 07:07 |
Especially if the objects are going to be
changing positions drastically, it's
| | 07:11 |
mostly positions in camera like a
walkthrough.
| | 07:14 |
That's why they call it Walkthrough Mode.
Then this will definitely help increase
| | 07:18 |
the cache speed of your finished frames
and it's going to speed you up.
| | 07:23 |
The first frame will still render at the
regular speed but every subsequent frame
| | 07:26 |
will be significantly faster.
So, optimizing those settings is going to
| | 07:30 |
help you to get the best balance of
quality versus speed.
| | 07:35 |
Adjust them to where you need them to your
finished project to get the best quality
| | 07:38 |
with the amount of time you have.
| | 07:41 |
| | Collapse this transcript |
| Render quality settings| 00:02 |
Modo has some generalized render settings
that are worth looking at that will help
| | 00:05 |
you get good quality and also help you
speed up your finished renders.
| | 00:09 |
Allot of times your going to be hoping for
the best possible quality with a decent
| | 00:12 |
render time, so we want things to look
really good.
| | 00:17 |
In this case I've got the render settings
lxo file, if you'd like to follow along,
| | 00:20 |
and I'm going to go ahead and do a couple
of things here.
| | 00:24 |
I'm going to turn off Graft Displacement
and I'm inside my can passes, I'm in a,
| | 00:29 |
I've got a Cans No Water one here that's
got no water, just the cans.
| | 00:36 |
Sitting on the background.
And, this way, I can see my displacement here.
| | 00:40 |
And the displacement settings are
something that we'll be looking at here
| | 00:43 |
with my finished render.
So, let's go over to the settings off of
| | 00:46 |
the render item.
And you can see that, by default, you have
| | 00:50 |
eight samples per pixel for the (UNKNOWN)
thing.
| | 00:54 |
And for a lot of things that is going to
do.
| | 00:58 |
You'll want to increase that to something
more if you have a particularly grainy
| | 01:02 |
image where there's a lot of blurred
reflection, that's not quite smoothing out.
| | 01:09 |
The other thing that's very dependent on
anti-aliasing is the depth of field.
| | 01:13 |
So, if you have Depth of Field turned on,
you'll notice that things that are out of
| | 01:16 |
focus, at eight samples per pixel are
going to look relatively rough.
| | 01:20 |
Now another thing to consider is the
anti-aliasing filter.
| | 01:23 |
Gaussian is a good overall, even quality,
smooth anti-aliasing filter.
| | 01:28 |
It's, everything's going to look
relatively good and neat and clean.
| | 01:31 |
There are a couple more to consider if you
have some specific things going on in your scene.
| | 01:37 |
I would hardly ever use box or triangle.
They tend to be a little bit.
| | 01:41 |
Rougher and so you don't get quite as
clean a finished look.
| | 01:44 |
But (UNKNOWN) can be really good for a
slightly sharper image.
| | 01:48 |
And Mitchell (UNKNOWN) works very well if
you have kind of tight areas of shadow
| | 01:52 |
where you're getting a bunch of noise, and
a bunch of roughness that's not being
| | 01:56 |
resolved otherwise.
So, you can use those two and test them as
| | 02:01 |
you see fit but, just know that, there is
not a whole lot of difference in render time.
| | 02:07 |
Maybe a second, on a big render, but,
overall, pretty good.
| | 02:12 |
Lot of times if I can't make up my mind on
any of them, or if I haven't set anything
| | 02:15 |
and I'm just ready to, start setting up my
finished renders I personally like a look
| | 02:19 |
of the Mitchell-Netravali anti-aliasing
filter.
| | 02:24 |
So, I'll use that one kind of as my
baseline and, and then go from there.
| | 02:29 |
And now you can also look here at your
Environment Shading Right, and then the
| | 02:33 |
Refinement Shading Right and Refinement
Shading Threshold.
| | 02:37 |
And these are going to feed up into Your
finished antialiasing so at 1.0 which is
| | 02:42 |
the default you going to kind of this
course antialiasing and then you can
| | 02:46 |
increase the quality here either using
these presets or you can increase it
| | 02:51 |
manually and this is just going to have to
do with how fine.
| | 02:59 |
It will actually let the pixels
anti-aliasing.
| | 03:02 |
Again this has a lot to do with blurred
reflections and with things like Motion
| | 03:06 |
Blur or Depth of Field where it's reliant
on the depth of the shading here.
| | 03:12 |
Now, continuing down the Refinement
Shading Rate also has the same kind of effect.
| | 03:18 |
So if you're getting those rough things,
try decreasing one of these, and that's
| | 03:22 |
going to give you a higher quality
finished render and also the refinement
| | 03:26 |
shading threshold.
This is how close in contrast one pixel
| | 03:31 |
has to be to the next before Modo's
rendering engine will fire off the
| | 03:35 |
anti-aliasing and it kind of feeds
upwards.
| | 03:40 |
So if you're getting some areas that are
still kind of rough.
| | 03:43 |
Like, say, a little bit of this area here
on the blurred reflection of the can.
| | 03:46 |
But it's in an area of low contrast.
But your eye can still pick it up.
| | 03:50 |
I can also see it up through here a bit.
Then decreasing that refinement shading at
| | 03:54 |
Threshold or just the Refinement
Threshold, that is.
| | 03:57 |
Will increase the number of times that.
Modo has to go to the anti-aliasing filter
| | 04:02 |
and less its going to smooth out things
like blurred reflection like motion blur
| | 04:05 |
like depth of feel.
These can add quite a bit of time so be
| | 04:10 |
careful when adding those in or when
adjusting these.
| | 04:14 |
But you'd want to problem shoot your
images at the default settings and then
| | 04:18 |
increase or decrease the numbers increase
the quality.
| | 04:22 |
As needed.
And then most of these other settings will
| | 04:26 |
typically be fine right off the bat.
Things like our refraction depth and
| | 04:30 |
reflection depth set to eight.
That means light is going to bounce eight
| | 04:34 |
times before the rays terminate.
The only time that you're going to usually
| | 04:38 |
get into a problem with this is if you
have really deep transparency.
| | 04:41 |
So a bunch of transparent things right one
on top of another.
| | 04:45 |
Then you might need to increase something
like your refraction depth.
| | 04:49 |
So let's scoot on down here, and the last
thing that we'll look at in this case is
| | 04:54 |
the geometry here.
And we have micro poly displacement which
| | 04:58 |
is going to give us the actual
displacement with an image here like on
| | 05:01 |
the can.
And before we look at that, what I'm
| | 05:04 |
going to do is go to the can here.
And, can material.
| | 05:09 |
And I'm going to turn on that basic
material, that just gives me that flat
| | 05:12 |
lighting and then I'm going to take my
displacement and drag it up over the top
| | 05:15 |
of that.
So that I still get my displacement but
| | 05:19 |
it's displacement on, kind of, a blank
canvas.
| | 05:22 |
Alright, so, if we look at this.
It's a little bit on the rough side, so
| | 05:28 |
here lets go to my settings.
And there you can see that this is kind of
| | 05:32 |
of the default settings for micro-poly
displacement.
| | 05:36 |
The displacement rate is 1.
The ratio is 4.
| | 05:40 |
The rate is going to be how fine it can
get, and then in areas where it doesn't
| | 05:43 |
need it.
It multiplies the ratio by the rate to
| | 05:47 |
give it, how little it's allowed to do.
So, you want to balance this, you don't
| | 05:52 |
want to have both of these set really low
because even in open areas where there's,
| | 05:55 |
no need for micro poly displacement like
down here in the flat areas of the can.
| | 06:01 |
It's still going to add a lot of polygons
to the scene.
| | 06:03 |
And then the last thing that we'll look at
here is the minimum edge length.
| | 06:07 |
And, depending on the scale of your scene,
the default of 100 nanometers can be fine,
| | 06:12 |
but, on a scene that's relatively small,
sometimes this can be a bit too high.
| | 06:18 |
So, I would personally start by just
decreasing this.
| | 06:22 |
Because if you have a small scene, this is
going to be the first thing that shows up.
| | 06:25 |
In this case I'm just going to decrease it
down to ten nanometers, which is pretty
| | 06:29 |
fine and then we'll let this start going
here, and I'll mouse over so we can see.
| | 06:34 |
And that actually cleaned these up just a
little bit, but you notice up here like at
| | 06:37 |
the top of these triangles, we're still
getting some roughness.
| | 06:40 |
So, I'm going to start now by adjusting my
rate and my ratio.
| | 06:44 |
So, I'm going to change the rate, and
we'll cut it down to .5.
| | 06:48 |
And then I'm going to multiply up the
ratio accordingly, so I'm cutting the rate
| | 06:52 |
in half.
I'm going to multiply the ratio by 2, so
| | 06:55 |
I'm going to go to 8.
And that way my open areas that don't need
| | 06:59 |
micro-poly displacement aren't going to
get effected by this.
| | 07:02 |
This is only going to effect the areas
where there is fine detail.
| | 07:06 |
Another thing to keep in mind here as this
is catching up is that I'm only using 2048
| | 07:10 |
by 2048 displacement maps, which are not
going to render really well at a large scale.
| | 07:16 |
If you're doing these for a project that
needs to be rendered at a high resolution,
| | 07:19 |
always err on the side of a slightly
higher resolution image because if it's
| | 07:23 |
looking great you can always sample it
down.
| | 07:27 |
But you don't want to have to go back in
and recreate a larger image just because,
| | 07:30 |
you know, your displacements are looking
rough.
| | 07:33 |
And in this case, just doing that cleaned
it up quite significantly.
| | 07:39 |
And I think at this point we're probably
hitting up against the actual depth of my resolution.
| | 07:44 |
It's looking cleaner than it was, but
Changing this rate down to something like
| | 07:48 |
0.25 pixels and then obviously uping the
ratio, is not going to help because I've
| | 07:52 |
kind of hit the resolution limit for this.
If however I had a 4096 or an 8k image
| | 07:58 |
that had a lot more Pixels for my
displacement Then I could probably go back
| | 08:02 |
and decrease those even more and get an
even finer quality.
| | 08:07 |
But in this case, that's about as good as
I'm really probably going to get.
| | 08:10 |
So, if I now go here and let's go back to
the can material and turn off the basic
| | 08:15 |
material, that's over the top of
everything there.
| | 08:22 |
Now, if I refine through here, we're
going to look and see that we're getting a
| | 08:25 |
lot better quality out of that
displacement map.
| | 08:28 |
It's looking a lot smoother.
I'm getting less of those little kind of
| | 08:32 |
jaggedy artifacts, and overall, that's
really helped.
| | 08:34 |
Now, in areas of my Blurry reflections.
That's something that I would want to
| | 08:39 |
check out those other render settings to
take into account on the finished rendering.
| | 08:44 |
Alternately, I can always take and use
this preview mode kind of as a progressive render.
| | 08:50 |
So, if I take my options here and set my
resolution to full, we'll give that a
| | 08:54 |
second to adjust What it's going to do is
it's going to take this and make this
| | 08:58 |
image the right size for whatever my
render settings are, which I believe is
| | 09:03 |
720 by 480.
And, that way if I zoom in and out here,
| | 09:09 |
it's not effecting the render, but all
it's effecting is this size percentage.
| | 09:13 |
See there's 100 percent.
If I zoom out it's just changing That
| | 09:16 |
percentage and it will snap at 100 but
it's not going to effect, my finished render.
| | 09:20 |
So this can be really helpful in
conjunction with render passes, if you
| | 09:24 |
have some problem areas of blurred
reflections or things like that.
| | 09:28 |
That you're getting graininess, and no
matter what you do, and by increasing your
| | 09:32 |
render settings, you're making everything
a lot more fine and lot more detailed, and
| | 09:36 |
just really upping your render time super
significantly, then this is a good way to
| | 09:39 |
go for your basic layer that's going to
house some of those problem areas.
| | 09:46 |
Because I can go through here.
I can either mouse over some of the
| | 09:49 |
problem areas, or I can just let it go
progressively.
| | 09:52 |
Or, I can mouse over the problem areas and
then let it go progressively and just let
| | 09:56 |
it cook kind of away while I go take a
break, or while I, on a really big render,
| | 10:00 |
while I go home for the night.
And when you come back, this is going to
| | 10:05 |
give you the best quality that can.
In the time allotted.
| | 10:09 |
Then I can just use regular rendering for
my other passes, for my masks, for my
| | 10:13 |
alternate alpha channels and for things
like that, and this is going to allow me
| | 10:17 |
to go beyond the basic render settings
without having to go and experiment with
| | 10:21 |
you know, how much anti-aliasing I need.
Or how I need to adjust my refinement rate
| | 10:28 |
in order to get my blurred reflections,
you know, nice and clarified.
| | 10:33 |
So, over all, this could be a really
helpful addition to your rendering workflow.
| | 10:37 |
And when you're done with this one, you
can just save the image here.
| | 10:40 |
And then that will give you that image
ready to go.
| | 10:43 |
You can combine it with your other
Photoshop finished renders and end up with
| | 10:47 |
Just an extra layer that has that detail
and that refinement where you really need it.
| | 10:53 |
Like, through here, where this was looking
really splotchy.
| | 10:55 |
By continually mousing over that.
You know?
| | 10:57 |
I'm getting that nice and clarified.
And so it gives me the best quality
| | 11:00 |
without having to go and fidget with the
settings for some really problem areas.
| | 11:05 |
All of those things will kind of help you
maximize the speed and the quality of your
| | 11:08 |
finished Render settings to give you the
best looking product visualization renders.
| | 11:13 |
| | Collapse this transcript |
| Saving your finished renders| 00:02 |
Once you've completed your renders, you
need to bring them into a format that you
| | 00:04 |
can get them into Photoshop, or another
image editor with.
| | 00:07 |
Here you can see that I have a render
completed that has four different passes,
| | 00:11 |
I've got a water pass, that just has alpha
channel, I have a cans pass which again
| | 00:14 |
just has an alpha channel.
I have a beauty pass that has, all of the
| | 00:19 |
channels, and see there's the final
output.
| | 00:23 |
And then I have a cans, no water pass,
that just is basically the other one but
| | 00:26 |
without the water.
And then this one has all of the different
| | 00:31 |
pass groups.
So if I want to get these out into
| | 00:34 |
Photoshop, I can go here to Save Image.
And if I just click on it it's going to
| | 00:40 |
save whatever the current layer is.
And that's not really what we want here.
| | 00:44 |
I can also choose to save a layered image.
And that's going to give me whatever pass
| | 00:48 |
I'm on, and then take all of the different
outputs and apply those to a different
| | 00:52 |
Photoshop file.
I could save passes as images, and that's
| | 00:58 |
going to give me all of the different
render outputs from all the different
| | 01:01 |
passes as separate images, which can be a
little cumbersome.
| | 01:05 |
Or I can save passes as a layered image.
Which is what I want to do here.
| | 01:08 |
So, I'm going to save these into my
renders folder here.
| | 01:14 |
And I'm going to call this splash, and
then just click Save.
| | 01:22 |
Now, if I go over to that file with the
renders.
| | 01:29 |
You see that I have these different
images.
| | 01:31 |
And they all have splash, which is the
name I input.
| | 01:34 |
And then they have the name of the pass,
and the, frame number and if I had
| | 01:37 |
rendered out sequential frames I could
render out entire animations in pass
| | 01:41 |
groups and then have different versions of
animations to create, so you really can't
| | 01:45 |
automate a really wide process of
rendering.
| | 01:50 |
With this so that you can do that without
having to sit around and babysit your renderings.
| | 01:55 |
And I also have a preview one, which was
progressively rendered in the preview
| | 01:58 |
render, and I really smoothed out the
reflections to give it a nice, clean appearance.
| | 02:03 |
And so let's just grab all of those, and
we'll pull those into Photoshop.
| | 02:11 |
And each one of these then is going to
have the layers that were showing inside
| | 02:15 |
of Moto.
So I'm going to grab all of these and drop
| | 02:19 |
them down into Photoshop here.
And they'll all pop up and we'll see that
| | 02:23 |
I have my Different renders and on top I
have my final output color and the
| | 02:26 |
underneath I have all of the different
ones.
| | 02:30 |
There it is with just the cans.
There is the splash, there's that.
| | 02:37 |
And here's the one with no water, so you
can see this one that is the preview cans
| | 02:41 |
is just.
The one that I did inside of the preview
| | 02:44 |
render and you can see it smooths out some
of these areas but I didn't take the time
| | 02:47 |
to smooth off the lip of the can so you
can see the difference there.
| | 02:52 |
I just brought that in for reference so
you could see how progressive render could
| | 02:55 |
be saved off and used inside the file.
You would want to either clean that up
| | 03:00 |
more or you could always go in and mask
that out and composite it in here in Photoshop.
| | 03:05 |
But in this case, I want to be able to see
how I can use all of these together.
| | 03:09 |
So what I'm going to do is I am just going
to make a new Photoshop document first here.
| | 03:15 |
And what I'm going to do is I'm just going
to grab all of the cans here and we'll
| | 03:19 |
make a new file.
And I'll paste those in.
| | 03:23 |
Then I'm going to get my alpha here.
We'll paste that in, and then I'll get my
| | 03:32 |
alpha for the splash.
We'll paste that in.
| | 03:39 |
I could also merge these files together,
but just for the sake of time at the
| | 03:42 |
moment I'm going to do it this way, so
let's Getting it all on those.
| | 03:47 |
Let's go in and paste that in.
Alright, so I'm going to take this main
| | 03:52 |
layer here that has everything in it, and
I'm going to move it down, and then I'm
| | 03:56 |
going to put the one without any of the
cans underneath it, and then duplicate
| | 04:00 |
that one.
And the reason I'm doing that is because
| | 04:05 |
that one has a completely clear backdrop.
It doesn't have And you have the
| | 04:08 |
refractions or anything from the water on
there.
| | 04:11 |
But in case I need those shadows, I'm also
going to just duplicate out that one.
| | 04:15 |
So now I could just simply take and create
masks for each of these.
| | 04:19 |
So I'm going to copy all of my splashes,
and then we'll create.
| | 04:26 |
Let's hide everything else here so we can
see how this works.
| | 04:29 |
Create a simple alpha, and I'll paste that
into my alpha channel.
| | 04:34 |
And there you can see I've got just my
splashes there, and I'll do the same thing
| | 04:38 |
with the cans.
So I'll select all that and copy it.
| | 04:42 |
I'll go down to my can layer without the
splashes on it.
| | 04:45 |
We will make a mask on that layer as well.
(NOISE) And, paste that in.
| | 04:51 |
(NOISE) And then we'll unhide that so,
there you can see I've got, my can with my
| | 04:58 |
splashes separated.
Right now, it's over a transparent
| | 05:04 |
background, but I could either bring in
this one, or I could bring in the one that
| | 05:07 |
has the splashes, which I guess in this
case is going to be the best one, 'cuz it
| | 05:10 |
has the little bit of the floor
underneath.
| | 05:14 |
But I can still just kind of mask out
where I have my splashes.
| | 05:19 |
So, I can make individual color
corrections to these.
| | 05:22 |
I could take and, say, duplicate my
splashes Maybe do a Levels call on them.
| | 05:28 |
Just blur them and set those to screen and
this will give me a little bit of kind of
| | 05:33 |
a bloom coming off of the splashes
themselves.
| | 05:39 |
Let's do that.
I'll set that to screen.
| | 05:42 |
There we go, so that's a little bit on the
heavy handed side but, you get the idea.
| | 05:47 |
So I have a lot of control now over what
happens with my individual layers.
| | 05:52 |
I could also go in and do individual
sharpening, color correction.
| | 05:58 |
I could easily go in and pull different
hues through these, and as a matter of
| | 06:02 |
fact, I could even go in here.
And get my cans by themselves.
| | 06:10 |
Get that surface ID, copy that.
And paste that in here.
| | 06:17 |
And then I can use this to create even
another layer of masks.
| | 06:22 |
So if I just quickly go here and grab
that.
| | 06:27 |
And then go down to my cans here, I can
duplicate that one out.
| | 06:30 |
So now if we hide that and I adjust my hue
and saturation, you can see that I can
| | 06:34 |
affect the hue and saturation on that one
can without affecting the other ones.
| | 06:40 |
So, this gives you a very effective way of
getting a lot of post-production done
| | 06:44 |
inside of Photoshop without have to take
all the time To go out and render out all
| | 06:48 |
of these different options separately.
So using a mixture of my past groups and
| | 06:55 |
my render outputs and then saving out my
images as Photoshop files I get a lot of
| | 06:59 |
options for creating good compelling post
effects.
| | 07:05 |
Without having to go and re-render, and
that's the big key there.
| | 07:09 |
The most that you can do without
re-rendering, the better your project's
| | 07:11 |
going to be because it's going to save you
all the time and frustration of going back
| | 07:13 |
and waiting.
Large files with high resolution you'll
| | 07:17 |
waiting hours for those renders again just
to make one simple change.
| | 07:21 |
If you render out all of your past groups
like we've looked at here and you save
| | 07:24 |
those out properly, you'll be able to get
at them quickly, effectively, and make
| | 07:28 |
good fine tuned adjustments post render
time.
| | 07:32 |
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