This video dives deeper into the Physical Material and takes a look at the base color and reflection settings. George shows how to control specularity, shininess, and reflectivity to create a variety of surfaces.
- [Instructor] Now let's dive a little bit further into the physical material for ART. And we're going to take a look at base color and reflection settings. Now this is going to determine the overall characteristics of your object. So let's go ahead and make sure we highlight this camera window here. And I'm going to open up an ActiveShade, and let's just render what we have. Now, as you can see this is a matte surface. So there's really not a lot of reflectivity on this surface.
So let's take a look at what it looks like in the material editor. So I'm going to open up the smaller material editor here. We're going to overlook Slate because it's a little big for this screen here. So the material that we're going to work with is called sculpture. And it should be the second slot in that material editor. Now if we scroll up here, you'll see we have a number of parameters. And the one's we're going to take a look at are base color and reflections.
So this is the base color of the object as well as how it reflects light. Now right now, the object has, basically a light gray color. But if we want, we can change it to really anything we want. So if we wanted to change it to something a little bit more blue we could certainly do that. And it will change the color of that object. Now when I darken the color, you'll see that it does have a little bit of reflectivity towards the bottom.
So you can kind of see the yellow on this base kind of reflecting a little bit. And the reflectivity, or the shiny-ness of the object is determined by this roughness command. Now, typically, most materials that you come across in 3D have a specularity control. And what specularity is, is basically just the opposite of roughness. And, in fact, if you want you can press this button here and that will actually turn roughness into a specularity control.
So basically it's just the opposite of specularity. So a lot of roughness will make it less shiny. Less roughness will make it more shiny and give it more specularity. So let's go ahead and bring this up to one. And when I do, notice how this becomes pretty much a matte object. Now if we want a little bit of shiny-ness and specularity we can bring it to zero. And when we bring it to zero, you're going to start to see reflected highlights on the object.
So now this object looks a little bit more like a shiny paint type of object. So we have a lot of specularity. It looks a little like paint. Maybe a little bit like plastic. But again, it's much shinier and that's because of the specularity. And the specularity happens when the roughness goes down towards zero. So I'm going to go ahead and turn down my saturation and leave it at kind of a medium to light gray. And as you can see we still get the specularity.
Now the next thing I wanted to show you is how to get better reflectivity. Now the reflectivity is determined by this control called metalness. So the higher the metalness attribute, the more it's going to act like a mirror. So if I bring it all the way up to one, this is going to be highly reflective. And it's going to look more like metal than the base color of the object.
So even though we have a light gray base color this acts almost as a mirror so most of the color in the scene is coming from the reflections. And so this metalness can also be thought of as how much of the reflections are showing in that material. So if we wanted it to be more metal like we'd bring it closer to one. So something like .5 will give it a little bit more of the original color.
And this is kind of the point where it stops being reflective polished paint and starts being metal. So if this goes up to, say .75, you're going to see that this is going to look a little bit more like metal than it looks like paint. And if we bring it down, let's go ahead and bring it down to .25, you'll see that it looks a little bit more like a shiny paint than it does like metal. Now, in addition to these controls we also have an index of refraction.
But that is more related to the next one down, which is transparency. And then we also have a control that shows how much weight this base color has in the overall scheme. So right now I have transparency, sub-surfaces scattering and emission at zero. But if I were to mix these in, then this would control how much base color mixes with transparency, and how much that mixes with sub-surface scattering, emissions and so on.
So remember, when you're working with just the base color and reflections of the object the roughness controls the specularity. A low roughness will be more shiny and more specularity, and then the metalness mixes in the reflectivity. So anything over about .5 will make this start to look like a mirror.
- Biased vs. unbiased rendering
- ART renderer setup
- Optimizing for speed and quality
- Using the Scene Converter
- Creating materials for ART
- Understanding physical materials
- Working with lights
- Creating depth of field in ART
- Configuring motion blur in ART