[flow_default] Transcription: 02. Materials - Concrete.json

transcriptions/02. Materials - Concrete.json

@@ -0,0 +1,7 @@
+{
+  "audio_file": "02. Materials - Concrete.wav",
+  "text": "Concrete shader will be a good warm-up material in our case since it's only located on one element and it's a floor slab in our case. So let's go to the viewport, select it and by pressing Shift H hide everything except of our object. I will now disable the viewer boundaries by pressing Ctrl Alt B and by pressing Z I will switch to the LookDef view. So you can see we have this very basic reflection. Let's now click New here and name our shader accordingly. And I will very quickly drag and drop texture which we are going to use. And this is the Chocofore Concrete Solid 08 which is part of the Chocofour Interior Scene 10 which you already have available if you purchase the course. So as I plug it in you can see we have this blueish color and nothing else visible on our concrete slab. The reason we don't see anything that's because we don't have UV mapping created yet. So let's go to the edit mode and for our concrete slab it's gonna be pretty easy process. So I'm just gonna select these edge loops here. I'm pressing Alt key and left clicking and then Shift key to add a new selection. Let's now add these four edges here as well. Now I'm gonna press Ctrl E, Mark, Seam. So now with those seams created, these are the areas which Blender will cut and create a UV plane here. If I go to the face mode and left and press L key with my cursor pointed on the area. You can see it actually finishes the selection on the UV seams. So I can now hide this element, create four new seams here and create two seams here. So now when I go to the face mode, press L, you can see this is another UV island. And to unwrap this element, I only need to select those four corner edges here. So imagine you're just using scissors and cutting these corners with the scissors. When you do that, I'm selecting this part only right now, pressing U, unwrap and you can see we have those corners cut and spread around the layout very nicely. So let's now unhide everything. Let's go to the face mode, select everything and unwrap again. So this is our UV layout for the concrete floor slab. Let's now switch to the LookDev view again and you can now see we have a pattern of the texture visible. Let's maybe increase it twice. So I go to the edit mode, select everything here within the UV layout, press S to scale it twice. And now we have just a little bit more detail. The reason the diffuse texture is blue is because I'm using the RGB channels of that texture as an inputs to the specular roughness and normal inputs here. I'm covering that topic in detail in a separate tutorial which is linked in the course, but for now let's just focus on how to set up this material only. Let's create color hue saturation node and plug it in here. If I increase the saturation you can see the texture looks more bearable, but there is still too little contrast within it. So we can improve that either by creating color gamma node, plugging it somewhere here and increasing the gamma value. But that's a quick, I would say quick and dirty solution. If it works, it works. If it doesn't, as I think in our case, we need to look for something different. So let's delete it, press Shift A and go to the converter color ramp node. And this is the node which you should get very used to because we are going to use it quite often. So I'm plugging in all the inputs and by default nothing changes to be honest. But if we move those handles around like that, you can see we are now controlling the end colors of that texture. So the white values become or the bright values become 100% white within this spectrum and the black or dark values become 100% dark within this spectrum or we can define the color, the actual color here. So we can even change it to something different if we have an RGB input because in our case the texture is desaturated. Yeah, but let's just focus on making the diffuse right now. So I would say let's just go 100% dark. We can also change the interpolation algorithm here. So maybe a B spline which gives us more soft results will be enough. Let's create something like this for now and we will fine tune it later. As soon as the diffuse color is set up, let's unplug it here and let's create additional node which is Converter, Separ RGB. And what that actual node does, what it does is if you go to Photoshop and preview the texture, you can see on RGB look of that texture is this blueish color I mentioned, but if we just separate and see the red color channel, it's something like this. If we go to the green color channel, it's, well, it simply has less contrast, but if we go to the blue color channel, you can see we have those little cracks separated. And what the separate RGB note allows us doing in Blender is simply using those channels, we can see here in Photoshop as inputs to our principled BSDF shader. So for example, for the roughness, the lower we go with it, let's see it here, the closer we are to the zero values here, the more reflections we are getting. So what it means the darker the texture we have here, so let's say this is the red channel again in Photoshop, the dark values will generate very sharp reflections. The bright values will generate diffused scattered rough reflections. So let's just see how it goes. If I plug it in here, you can see this is the default unchanged look of the red color channel. If I switch it to green, you can see it looks a little bit different. I think we need to go lower with the color just like that. If you switch to blue, well, now it looks completely different. So almost zero reflections here. Let's stick to the red color and again, let's create converter color ramp node, plug it in here and try to fine tune these reflections. In the reference, our concrete shader looks very, very reflective, meaning it has low roughness. So this value has to go closer to dark color. If we increase it here, you can see we are getting this very mirrory look. If we increase the white value, it becomes very, well the contrast increases, but it looks very, very unnatural. It looks like some warm, poor water on the surface to be honest. So let's try to work with those handles. Again, I will just change the interpolation to B spline because it gives us more soft and controllable inputs. So the more I move this handle to the right the more reflections the more sharp reflections we are getting. I think this is too sharp to be honest. So even if it doesn't look like exactly like in the reference, let's try to get a look that we are simply happy with. If we change this color from the perfect zero to just a little bit above it, as it always works in the physical world, you can see if I go very much upwards, then we are getting very, very diffused reflections. So let's keep it around 0.05 and the white values just a little bit below 1, so 8 something. And yeah, I would say keeping it like this maybe will be enough for now. So if we combine it with the diffuse color set up before you can see this is the actual look of our shader at this point. Maybe we need to darken it a little bit so I can go with this hue saturation value note and use the value slider just to increase the brightness of the shader. Let's just keep it 0.5. And yeah, now we need to set up the normal, the bump, the actual well structure of that material. So you can see I've disconnected the node setups I created previously. And that's because I want to keep the effect I'm working on separated from everything else because otherwise I'm not fully sure what's happening in the screen. So let's go to the vector nodes here and choose the bump node. I'm going to use the blue channel as a height input and let's just plug it in and see how it looks. By default, well, we get something very, very natural like this, but let's keep the strength as one and reduce the distance of the bump effect. So you go the lower I go with it, the more it looks like something. Let's create another converter and color ramp node. Plug it in here and see what happens if we added the node handles. So if I increase the black handle, you can see the material looks like that, but if I go with the white one, we are limiting the bump effect only to those very, let's say, deep points of the bump. So let's keep it like this. Let's maybe leave a little bit of roughness within the surface and that's why I'm using the B-spline again here. Yeah, and I would say that looks pretty, pretty good. Let's keep it like this and combine it with the other nodes right now. So this is the look, the general look of our concrete shader. I will now switch back to the camera view and by going to the solid look in the viewport switch of the elements back. Let's create a render region around this area maybe and switch to the rendered view to see how the shader looks within the environment. If we compare it to the reference you can see I think it's a little bit too dark in my opinion. So let's select and thanks to this note setup we can very quickly fix that. So let's increase the value of that note to one. I think it's pretty much okay to be honest. But I also think we might increase the roughness or decrease the roughness of the reflection so they are even sharper than what we have here. But I don't think it necessarily looks great in the rendering, so let's just keep it as it is for now. Later when we add another shaders, the rest of the shaders, we will fine tune each one of them for the final look. What I'm still interested in is the bump look, so I think we need to invert it. As you can see here, those little cracks within the shader should face downwards instead of upwards. So let's go to the bump node and select this checker here. So you can see now we have a correct bump and I would say we could also increase the texture scale by two once more. Just so we have around the viewport, look for different camera perspectives, look from the upper perspective at the shader because then the reflections look a little bit different, the color is more visible than when we look from an angle like that. What I also like applying in each one of my shaders is increasing the specular at least to 0.75 even up to 1 to be honest for some materials. But let's keep it at 0.75 for now. And yeah yeah I would say at this point that's everything we can do because fine-tuning the material at this point doesn't make much sense we really need to see how it looks in context of all the other materials all the other shaders so yeah it's quite similar to modeling we simply take one step at a time we create a base and then we fine tune it later once we move forward with the other materials, the other elements of the scene. So thank you for watching this part and let's now move to the wooden shader.",
+  "language": "en",
+  "confidence": null,
+  "duration": 976.15
+}