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+  "text": " So here we are at the rendering stage. Let's proceed to this interesting part. Let's create this container. Let me make an object merge here. Go back to the sim, because I have the mesh here. So we'll work with this, like this for now, but then we'll optimize the scene. or clip some of the geo that we don't need which is being called by the camera there's some camera calling. Let's put an O here maybe even copy an O liquid fluid. So we're going to import this send the O to the object usually if you the transform plays a role. I usually put set into this object by default because I'm pretty used to doing this. I do it because usually when you have transform at the object level here, it will basically... when you have an empty container without any transforms here, but you import the object from another object container, which has transforms, it will just ignore them when you do it into this object. So, yeah, another tip for you, like, for example, if you want to have shortcuts, really fast shortcuts, in this node view, you frame your node view as you wish, and you make control 1, and you set a quick mark. And control 2 here, for example, and control 3 here. And after this, if you click 1, 2, 3, you'll see that it just switches from those areas in between those areas if you want to have access to them. And if you are outside in the object level, you click 3 for example and you end up inside that object with that frame. So it doesn't matter in which context you are, it's going to teleport you there. So let's make in the Out context output control 4. So you see we're jumping to the render output. So yeah. Now let's work on the shading. So let's display our mesh here, go into the camera view. So our monster and our liquid have velocities, which is great. And we'll go into the material level and start building some shaders before adding a random odor. I try to make the most of the work before even hitting render so I have a good starting point so let's create a knock-down material builder. I'll call this one OctSymbiotEbody. Now I'll dig in, remove the standard to surface and let's start texturing this thing. We'll do a diffuse material first because our symbiote creature is going to be a translucent creature so it's going to use the random walk SSS model of this material network and let's do a random walk, medium random walk, connect this random walk to the medium and just leave it at that and we'll just change some parameters here 20 let's say for the density and red for the radius something like this and for the diffuse and the diffuse material we'll just maybe yeah just leave it by default I'll put it gray for example for now these are the base materials that I'm setting up I'll duplicate this Octane Ground. So we'll go back and disable the liquid, it will work only on the creature. Also I forgot that we're going to use this mesh for the render, which is the subdivided mesh with the color attribute baked in. So yeah, this guy and the material network in the ground here, I'll just start adding some maps because I have the textures ready already, so texture image RGB. set it to text asphalt color and yeah this is going to be text diffuse, we'll name them properly text glossy, text roughness and text disc. So the glossy it's a set of textures that I got from texture volume that I was using a lot before. Roughness, pick the roughness. These are 8k textures maybe a little bit overkill but we're going really close to the ground so maybe it's not that overkill so we'll connect these guys. Glossy, oh yeah, glossy is going to go into the, oh yeah we're going to use a glossy material here because the diffuse is not enough. We can use the diffuse and add some layers, but I prefer to have already the glossiness and reflections integrated into the shader. So gloss into the specular roughness here, and displacement through a displacement node. Texture, displacement. So yeah, the glossy guy, I'm just gonna kill some of these guys, just leave everything by default. And maybe for the displacement I'll change the runners a little. Mid-level is going to be 0.5 because I know these maps have the grey representing the 0.5 value, the black is 0 and the white is 1. And the height is going to be 0.5 cm. And follow smooth normal. Usually when you set it to smooth normal it's not going to go and break your geometry where the UVs are breaking up at the edges. But here we have just a flat plane so it's alright. And I'm going to make it transform to D for all of these guys. I'll keep it here, I'm going to connect it afterwards. And this is for resizing the texture. And let's make another shader for the fluid. It's also going to be a random walk with a diffuse color. And the diffuse color will set it to black here. Otherwise, it's going to interfere with your ODSSS model. And, oh yeah, so let's go back to the fluid here. As you can see, we have the color here, so let's expose it, because the color, in order to obtain, for the octane to read the color, you need to go into the octane tab and the attributes and export them before rendering. So, yeah. And the materials, symbiote fluid, and we'll do a color, color vertex attribute. So the color vertex attribute, we're going to mix two colors using this CD attribute. And the two colors will be color RGB. So duplicate it and have a mix texture node. And we'll connect this to transmission because this is going to control our transmission level. And as for the colors, I'll just put the values that I had before 0.865, 0.843 and for this one this is gonna be a really strong red 0.0. So this is gonna be the transmission and yeah for the random walk we'll have just a little different setting. The density is going to be really, really low. And we'll keep the Lb at 1. It's really white. 0.91, 0.11, 0.022. So something like this. And the bias, this bias parameter just defines how the light scatters. Is it forward or backwards scattering? So if the rays, they go in, they go out. Or they go in and they are reflected inside the volume and come back in the same direction. So you'll see the difference in shading. Sometimes this flattens a lot the liquid or the object that you're applying this material to, or it just gives it more volume, depending on this bias. So let's do that for now. Oh yeah, we need some UVs on the ground object. So let's go back to the ground object and we'll apply some delete attribute. I delete the node here, so it's removed, keeping just the area that interests me. so we don't apply this place to an infinite surface. Let's apply a UV project. We need some UVs for this to work. Now let's change these parameters a little 90 degrees and for the scale, we'll just scale it really high up. So, yeah, this is going to be the ground. And what else? Yeah, that's cool. We'll just keep that like this. And let's add our octane nodes now. I'll save it as chapter 14. We'll understand that. Alright, let's add our Octane and our target. These are two nodes that you're adding. Usually the Octane Rop is pointing towards the render target that you created and the render target contains all the settings of your renderer. So let's go through these parameters just quickly. At the time I didn't use any ASUS color space, I was using it by default the linear house RGB for multiple IDALpha. I'll uncheck the output image files, uncheck these two because they're going to just run really confuse the viewer, the colors will not be correct in the Mplay viewer, the properties will be disabled off rendering, motion blur will leave it by default and for the camera we're going to apply the KAM main and I usually copy this parameter and apply relative references, override the resolution put it at a half of the, and I do a full scene reload usually because we have a very really deforming mesh, I had instances where when I had this update seen It wasn't updating dynamic measures properly, so I don't want to risk it again. So depending on the version, sometimes it works, sometimes it doesn't, so I use the full scene reload by default. And yeah, so let's go now to the render target. Render target will be here. We switch the kernel to plot tracing. This is the one that I use the most. Instead of daylight, we'll use the texture. And the kernel will set a thousand samples. Alpha channel, I will not have an alpha channel because it all happens above the surface. We'll never see the horizon. And the rest are just by default. GI clamp, I'll set it to 1000 to avoid some flickering. And for the texture here, for the HDR, I'll use a HDR called HDRPyto. And yeah, so I'll use this one. We'll see how it works, but I remember the rotation was minus 110 degrees. So yeah, that's cool. That's all for now. So let's apply these materials to our objects, our objects, the fluid gets the fluid material, the ground gets the ground material, and let's see what happens. Take a while to load because we have a heavy liquid mesh there, so yeah let's Let's get rid of the liquid mesh and let's go to the ground material. Let's connect this transform to our transform. Goes into all of these textures and the transform will be 0, 0, 0, 8. 0, 0, 0, 8 on all of them. It's going to suffer a little because I'm basically resizing this displacement map, so it doesn't like that, because it has to recalculate the whole displacement. Because of that. So the ground is there. Let's reload this whole thing, because let's make the liquid disappear. Let's work on the symbiote first. And then I'm going to abuse this glossiness value on the ground because I want it to be really popping. And let's add some of those AOVs just to see what's happening. Diffuse reflection, maybe transmission and subsurface scattering. And in the info here, we'll just add, let's say, ambient occlusion obviously. who doesn't have that shading normal, some UV coordinates, who knows, maybe we'll need it, and some Z-depth. Z-depth max will be 3, something like this, and then maybe some cryptomat nodes, material node name. Let's update this menu, see the reflection, sub-surface, see I don't have anything now, but when we'll apply this, we'll work on the symbiote, we you'll see the difference. So I like the grain that we have here. There's some motion learned at the field. Let's work on this symbiote material. Let's first of all, let's import the map that I created in Substance, but it was a really quick five minute texture that I did there using a procedural map, Texture RGB. We'll import this guy, the symbiote diffuse, the let's apply it directly to the diffuse color here. And yeah, it will not see the difference because it needs to refresh it. But we also have a, if you remember correctly, have the color here. So let's export the color in the attributes section. set the CD and also let's go to the materials and let's maybe increase let's go to this texture environment here and let's play around with the maybe like this because we're going to read the HDR as a linear as RGB so Yeah, something like this. Yeah, let's keep it like this. We have some passes here, some ambient occlusion, normals, UVs, ZDip, and Cryptomet. So the lighting is all right. Just let's go back to this, to this symbiotic body texture. Let's reload, fully reload, just to see the texture color are a little guy. This is the procedural map that I used for the diffuse. But we'll be actually mixing this texture with mix, tool mix texture, and we'll put a, lay down a color RGB, set it to something like 0333, 0333. So something there of that type, and mix our RGB texture with this guy, with this guy and use a color vertex attribute that we exported, which is the CD attribute. And we'll invert this guy. Let's color correct this texture. Color Correct Maybe we will not need the invert because this is how it's supposed to be I think I inverted the color before when I was baking it into the mesh. So let's color correct this guy Saturate it a little bit maybe and contrast just a little bit tiny bit contrast and then Maybe make another version of this color correct and set the saturation to 0. And also the intensity, the brightness of it is 0, 0, 0, 2. And I'll use a specular, also we can add the tool next texture, we'll use it for the albedo right here in the SSS. And let's create a, let's change the parameters of this guy. Maybe in the diffuse, we have to set the transmission to a gray color. So let's make a, in order for the transmission to work, we need to set it as a color, which is going to be something like, let's put it to white, set it to white like this. And we already have something interesting, a blending between the solid color and the the texture and we're going to use this color corrected color texture like diffuse texture to drive a specular layer. So I want a specular layer to go into the right here and we'll use this map as a bump here and as a bump in the main material. Yeah, something like this. All right. Okay. So let's go back to the random walk, maybe increase the density, so it's less translucent. Let's check the subsurface. So we have some kind of skin texture, some subsurface scattering going on, and in the transmission we have the color. But I think maybe, yeah, fixing the gamma, but if we keep it like this, it's going to be like this I think. So yeah, this guy, this color, this light really shining on top of the scene. Yep, so what else can we do in this? This guy is going to use HDR as a source reflections, refractions, and lighting. We have actually enough detail on the ground if we disable the ToF. It's looking good, just maybe a little bit too saturated. So apparently I used the HDR in sRGB color space. I didn't go into linear so it was kind of like this but I have basically for the texture color vertex attributes actually I really inverted the texture so when it inflates it reveals more of that texture and there's one nuance that I should have fixed actually basically I should have left the color only on the bubbles not on the tentacles I don't want the tentacles to be switching from white to black so we have to fix that. Let's see how we can do this. Because the mesh is already kind of baked. Let's see what we can do here. We don't have any groups here but... Yeah, I should have saved the color properly at the time. if we were to transfer only to the to the body yeah so let's see yeah our Tetras animated they don't have any Tetras yeah we may fix it probably fix it here in this node on the output of the vellum we can maybe set the color of our everything but the bubbles. Let's hit black. Yeah, something like this. So yeah, that works. Yeah, and let's see what happens when we transfer this guy. So what I did is just apply to all groups except the bubbles, apply the color black. So this exclamation mark before the group means that it will apply this operator, the operations in this operator, it will do them only on the groups that are not this. so all the groups accept this. So yeah this fixes the issue. I'll have to rebake the whole mesh I think. Yeah so we transfer only to the bubbles but I wish I could. I think I will just let's actually be blur this on top of the... oh we actually have an actually blur but it's for for the position. Oh yeah, that fixes a lot of stuff. Let's duplicate this guy, put it here, but set the CD attribute as a source. So you can see that it kind of blurs the inflation. So I'm blurring the color at the edges there, which is great. So let me, 20 is fine. Let me re-bake this sequence and I'll come back. So I'll bake this mesh again, with all the colors affecting the bubbles, which is what we need. And let's run the render again. We have this camera just a little bit weird that we have this key offset like this. Let's fix it just a little bit. And yeah, that's alright. Yeah, that's cool. Let's try to render this frame. There's a QT render viewer integrated into Octane already, but I still am sticking with this one. Well, enabled it off. And in the camera, sampling... Yeah, in the Octane Matte Render Target, we'll go to the camera and remove the autofocus, big focus. Yeah, so this is what I want to see. I want to see this subsurface scattering on the arms and the texture appearing only when the bubbles are inflating. So this is the goal here. So this is good. Now let's see what's happening with the displacement because we want to add some displacement to this guy. We didn't add it yet, so let's type in displacement. Bring in our displacement texture, thisp, connect the texture with displacement, connect this to the random walk because it requires displacement, and into the diffuse and we can see that there's something happening there but we have to set up this node properly so it works well with the... so the parameters for this were 0.05 as a mid-level. Oh and I forgot to mention the level of detail on the ground displacement so here we'll set it to 0.015 like the ground was 0.025. As you can see in the shading normally you can see the displacement appear. This is the sculpted detail. Maybe we can even increase it a little bit more. It follows the... yeah that's cool. And we have those veins kind of popping out and we have this subsurface happening here. Subsurface scattering transmission. You have the transmission here you can see what's happening. That's cool. Let's enable the DOS just to see how it works. So we have like a kind of macro shot. Let's set this displacement to like 4,000 pixels and it's going to increase the detail of that map. Let's go back to this ground material and the displacement here also put 8k because I really want to see the grain of the normal shading disabled DOS and you can see that there's detail here happening on the on the ground so I'm happy with that let's reset the view maybe move to another frame somewhere here to the top view yeah so we'll fix the framing a little after this because on some frames the movement is a little bit offset but yeah I'm happy with the shader pretty much the motion blur works nicely and let's see what happens if we add the liquid on top of it so let's go to the object level again display our liquid here we set the view reload this thing and see how it works with the liquid. Previously in that version of the octane I had an issue with the motion blur, so I had to turn it off because the motion blur wasn't matching between the mesh and the liquid mesh and the body, but now apparently it's fixed. So let's reload this. It's going to take a while to load the liquid in and you see that we have some issues there, the liquid, the liquid is kind of floating I think or not. Yeah, let me see if it's because of the motion blur, because I had this issue before and yeah, sometimes it happens, let's disable this, reload. If the white spots it disappears, it means the bug is still there, it's persistent. So yeah, we're waiting for this to load again. Well, maybe yes, maybe not, but let's go into the liquid shader. I forgot to do something there. Fluid. Let's make it a little bit more complex. What I want to do is add a specular layer because there's non-specular layer. Let's connect it to the layer thing. Here we'll just leave it by default, we're not gonna change anything, but we're going to mix, use a duplicate of this mix. I'm going to disconnect these guys and duplicate these colors here and make another set of colors. The first color is going to be black. Completely black. And this one is going to be like a light gray 0 1, 0 1, 0 1, 0 1. I will connect this guy to the roughness because I want to vary the roughness of the specular layer. That already looks cool. It looks like some kind of a strawberry, maybe raspberry jam or something like this. And the color vertex attribute is there. Let's maybe add a gradient, tool gradient. And what's crazy about this node, what I don't like about it, is the first two inputs don't have anything to do with the input that you have to insert. So sometimes you're inserting a parameter where it shouldn't be. So you have to connect it to the third input. So it works correctly. So in the gradient here, the gradient, it acts as a level node or effect in after effects or curves. What we're doing here is just pushing the whites a little bit further. So you can see that we can get some nice contrast between the black and white areas. So if you remember, I mentioned before that the color attribute on this liquid represents the viscosity, which was mapped between one and three. And yeah, so this color is actually the viscosity. So we have some variation, it's like some blood clots or blood areas with a lot of reflections. So I like this a lot, I like how it looks. We can maybe play around with the shaders here. Maybe I forgot to do something else on the Symbiot body. We set a specular layer which is completely 100% reflective and 100% there's no gloss in this involved here. So let's set the roughness to 0.05. so you blur the reflections just a little bit. Same with the liquid, I don't want it to be perfect. So let's set the roughness here to 0001. We have some nice reflections there. Yeah, so what I liked about this simulation is you know these bubbles forming on the ground and they fall down and they still kind of move around. If you zoom out, you can see that I have the displacement happening on the ground. And what I'm afraid of is, Let's see what's happening underneath. So yeah, the ground, it's just this penetration between the liquid and the ground is correct. It should be there normally. Usually you should have it also when dealing with refractive objects containers that contain liquid. But this is another story because it involves setting priorities between the liquids and the liquids will have a correct order in order for the refraction to work correctly. In this render target, you have an option here, the PT kernel, I think it's called nested due to the electrics. So this affects refractive objects that interpenetrate, like for example, a glass bowl that's inside the liquid, that's inside the glass or like a transparent object. So you have a bunch of things to consider there. So in the specular material, I think, you have this priority here. It will define which surface is going to be rendered first in the refraction. So it's really important to keep in mind that there is an option like this. When you have a bunch of self-contained refractive objects one inside another one. But yeah, that's cool. Let's turn on the DoF. I like the little reddish, bloody spots because they give you some variation in the liquid. I'm pretty happy with the shader, it's really simple. It has a refraction, but it's not really transparent. It has that subsurface scattering happening there. So if you go into the subsurface, you can see that there is something happening in the subsurface scattering there. If you go into the transmission, you can see that there is, again, like those bloody spots, they come from the viscosity. And yeah, the beauty is there. We have the wrinkles happening here. If you remember, we did the wrinkles, it wasn't for nothing. you can see them in the render. So yeah, that's cool. One thing, I'll just go into the render target, AOVs info, and here the AO distance, maybe it's too much. Let's decrease it. Maybe zero one. I don't know if it affects at all. Oh yeah, so, because I think once it reaches a limit, it doesn't spread even more than a certain limit. So even if you increase it, you'll not see the difference. So zero tool, let's say 20 centimeters. And it's kind of wide. I don't want it to be narrow. Otherwise it's going to be really contrasty at the edges here underneath the... So what I can fix, the occlusion pass usually helps you out with fixing the gap problems here. So let's go into the joey body in the math context. You see that there's a gap. It's only because of the midpoint that I set in the displacement map of the symbiote body. So the midpoint is 0.5. Let's push it kind of a little bit further, see if it fills the gap. It does the opposite, so let's do 0.4. I want it to push a little into the liquid mesh, so we can have a little bit more of that. And decrease the displacement because it's kind of too much. and we'll probably get rid of that white reflection in the white in the refractions or maybe not, we'll just make it even more obvious 0.545, basically because of the penetration between the meshes 0.55 so yeah, this will basically get rid of it, but the occlusion will Well, it's a treacherous pass because it will show that there's a lot of gaps there. Let's see if... We'll leave it at 0.4. We'll have those white spots again. And let's see if we can do something about it in the symbiot fluid material. And... So in the random walk, I set the density really high. 25. Yeah. that liquid becomes more dense in terms of translucency. So we will not see the material will become less refractive. That's why we lose those spots. But we had them because of the low density. So it becomes almost like glass. This is why we see a bunch of things happening there. So let's maybe leave it at 0, 0, 2. Play around with the bias. So if you go, the bias is really high. We'll get rid of some of it. But it's not that. Yeah. Let's revert back. Maybe we should even keep that gap just to fix the problem. That's funny. Now it gives us this edge basically the body mesh just cuts out the liquid mesh. This is why we have this. Let me think what we can do, but for the time being we'll just fix it by setting back the displacement to 0.52, 0.54, let's say, yeah, something like this. It will get rid of most of that white effect. And it's satisfactory, we will not see it do anything weird there, but let's turn on the motion blur, so we discovered why we had those spots. So let's uncheck the useless stuff. Yeah, so let's reload, see what happens. The rest of the magic will happen at the compositing stage, because there's a lot of stuff you can do in Comp. I recently switched to Nuke, but I'll do the compositing in After Effects because I had the Comp already done, so I'll keep it like last time. Yeah, so basically the motion blur offsets some parts of the mesh. But I prefer to have the 3D motion blur on because I like the real motion blur instead of the fake one. Here's ZDep. It's all good. It looks cool. So yeah, we're kind of done with the shading part. I'll probably look into what passes we can output, what else we can output. But I think these are all the passes that I wanted. I don't need too much. The compositing will be really simple. We'll use the beauty. Directly, we'll beat around the bush. We'll just go straight with the beauty, maybe. Add some reflections on top of the beauty. Amplify the reflection, basically. I will not recompose the whole thing from scratch, like you're supposed to do. But yeah, we'll do that after the rendering is done. And let me fix the camera and launch the render after this. and it will be good to go for the comp part of this tutorial. Yeah, so we'll keep the motion blur on. I'll just take the camera, and let's go into the object level, disable joey fluid, switch to this more optimized light guy. So what I don't like is when it pans a little bit too much, doesn't center the... yeah, I'll disable the noise because this is the button you press just to activate node in the chop's network. So if you go here, where you can go... here maybe add another key right here. Press this lock, just Let's pan this out like this. And set the key there. So I'm not going to render the whole sequence, just 200 frames. This is going to be enough for this tutorial. From 200 to, yes, or we'll rename it 20 to 220, this is going to be enough. 200 frames in animation. Let's go back to this fluid, turn on the fluid and activate this guy. So, disable the lock, save this file. And let's meet in the next one where we'll composite this thing, but we'll set up the parameters, we'll remove the override here. in the output we'll set the linear sRGB, pre-multiplied alpha. We don't really need this because we don't have an alpha. And type in the render, symbiote, render v0 one, xr, 610 bit and one scanline zip. And yeah, xr layers short names just to keep it short. Motion blur on, all good. We'll have to go to the render target increase our samples maybe 1,500 and parallel samples to 32. It will consume a little bit more memory but it will be faster and maybe I don't you all not use the denoiser this time just use the regular so yeah I'll keep it like this all good passes there all good go back to the alt and press render and save the scene. I'll render this and come back. See you in the next one.",
+  "segments": [
+    {
+      "text": " So here we are at the rendering stage. Let's proceed to this interesting part. Let's create this container. Let me make an object merge here. Go back to the sim, because I have the mesh here. So we'll work with this, like this for now, but then we'll optimize the scene. or clip some of the geo that we don't need which is being called by the camera there's some camera calling. Let's put an O here maybe even copy an O liquid fluid. So we're going to import this send the O to the object usually if you the transform plays a role. I usually put set into this object by default because I'm pretty used to doing this. I do it because usually when you have transform at the object level here, it will basically... when you have an empty container without any transforms here, but you import the object from another object container, which has transforms, it will just ignore them when you do it into this object. So, yeah, another tip for you, like, for example, if you want to have shortcuts, really fast shortcuts, in this node view, you frame your node view as you wish, and you make control 1, and you set a quick mark. And control 2 here, for example, and control 3 here. And after this, if you click 1, 2, 3, you'll see that it just switches from those areas in between those areas if you want to have access to them. And if you are outside in the object level, you click 3 for example and you end up inside that object with that frame. So it doesn't matter in which context you are, it's going to teleport you there. So let's make in the Out context output control 4. So you see we're jumping to the render output. So yeah. Now let's work on the shading. So let's display our mesh here, go into the camera view. So our monster and our liquid have velocities, which is great. And we'll go into the material level and start building some shaders before adding a random odor. I try to make the most of the work before even hitting render so I have a good starting point so let's create a knock-down material builder. I'll call this one OctSymbiotEbody. Now I'll dig in, remove the standard to surface and let's start texturing this thing. We'll do a diffuse material first because our symbiote creature is going to be a translucent creature so it's going to use the random walk SSS model of this material network and let's do a random walk, medium random walk, connect this random walk to the medium and just leave it at that and we'll just change some parameters here 20 let's say for the density and red for the radius something like this and for the diffuse and the diffuse material we'll just maybe yeah just leave it by default I'll put it gray for example for now these are the base materials that I'm setting up I'll duplicate this Octane Ground. So we'll go back and disable the liquid, it will work only on the creature. Also I forgot that we're going to use this mesh for the render, which is the subdivided mesh with the color attribute baked in. So yeah, this guy and the material network in the ground here, I'll just start adding some maps because I have the textures ready already, so texture image RGB. set it to text asphalt color and yeah this is going to be text diffuse, we'll name them properly text glossy, text roughness and text disc. So the glossy it's a set of textures that I got from texture volume that I was using a lot before. Roughness, pick the roughness. These are 8k textures maybe a little bit overkill but we're going really close to the ground so maybe it's not that overkill so we'll connect these guys. Glossy, oh yeah, glossy is going to go into the, oh yeah we're going to use a glossy material here because the diffuse is not enough. We can use the diffuse and add some layers, but I prefer to have already the glossiness and reflections integrated into the shader. So gloss into the specular roughness here, and displacement through a displacement node. Texture, displacement. So yeah, the glossy guy, I'm just gonna kill some of these guys, just leave everything by default. And maybe for the displacement I'll change the runners a little. Mid-level is going to be 0.5 because I know these maps have the grey representing the 0.5 value, the black is 0 and the white is 1. And the height is going to be 0.5 cm. And follow smooth normal. Usually when you set it to smooth normal it's not going to go and break your geometry where the UVs are breaking up at the edges. But here we have just a flat plane so it's alright. And I'm going to make it transform to D for all of these guys. I'll keep it here, I'm going to connect it afterwards. And this is for resizing the texture. And let's make another shader for the fluid. It's also going to be a random walk with a diffuse color. And the diffuse color will set it to black here. Otherwise, it's going to interfere with your ODSSS model. And, oh yeah, so let's go back to the fluid here. As you can see, we have the color here, so let's expose it, because the color, in order to obtain, for the octane to read the color, you need to go into the octane tab and the attributes and export them before rendering. So, yeah. And the materials, symbiote fluid, and we'll do a color, color vertex attribute. So the color vertex attribute, we're going to mix two colors using this CD attribute. And the two colors will be color RGB. So duplicate it and have a mix texture node. And we'll connect this to transmission because this is going to control our transmission level. And as for the colors, I'll just put the values that I had before 0.865, 0.843 and for this one this is gonna be a really strong red 0.0. So this is gonna be the transmission and yeah for the random walk we'll have just a little different setting. The density is going to be really, really low. And we'll keep the Lb at 1. It's really white. 0.91, 0.11, 0.022. So something like this. And the bias, this bias parameter just defines how the light scatters. Is it forward or backwards scattering? So if the rays, they go in, they go out. Or they go in and they are reflected inside the volume and come back in the same direction. So you'll see the difference in shading. Sometimes this flattens a lot the liquid or the object that you're applying this material to, or it just gives it more volume, depending on this bias. So let's do that for now. Oh yeah, we need some UVs on the ground object. So let's go back to the ground object and we'll apply some delete attribute. I delete the node here, so it's removed, keeping just the area that interests me. so we don't apply this place to an infinite surface. Let's apply a UV project. We need some UVs for this to work. Now let's change these parameters a little 90 degrees and for the scale, we'll just scale it really high up. So, yeah, this is going to be the ground. And what else? Yeah, that's cool. We'll just keep that like this. And let's add our octane nodes now. I'll save it as chapter 14. We'll understand that. Alright, let's add our Octane and our target. These are two nodes that you're adding. Usually the Octane Rop is pointing towards the render target that you created and the render target contains all the settings of your renderer. So let's go through these parameters just quickly. At the time I didn't use any ASUS color space, I was using it by default the linear house RGB for multiple IDALpha. I'll uncheck the output image files, uncheck these two because they're going to just run really confuse the viewer, the colors will not be correct in the Mplay viewer, the properties will be disabled off rendering, motion blur will leave it by default and for the camera we're going to apply the KAM main and I usually copy this parameter and apply relative references, override the resolution put it at a half of the, and I do a full scene reload usually because we have a very really deforming mesh, I had instances where when I had this update seen It wasn't updating dynamic measures properly, so I don't want to risk it again. So depending on the version, sometimes it works, sometimes it doesn't, so I use the full scene reload by default. And yeah, so let's go now to the render target. Render target will be here. We switch the kernel to plot tracing. This is the one that I use the most. Instead of daylight, we'll use the texture. And the kernel will set a thousand samples. Alpha channel, I will not have an alpha channel because it all happens above the surface. We'll never see the horizon. And the rest are just by default. GI clamp, I'll set it to 1000 to avoid some flickering. And for the texture here, for the HDR, I'll use a HDR called HDRPyto. And yeah, so I'll use this one. We'll see how it works, but I remember the rotation was minus 110 degrees. So yeah, that's cool. That's all for now. So let's apply these materials to our objects, our objects, the fluid gets the fluid material, the ground gets the ground material, and let's see what happens. Take a while to load because we have a heavy liquid mesh there, so yeah let's Let's get rid of the liquid mesh and let's go to the ground material. Let's connect this transform to our transform. Goes into all of these textures and the transform will be 0, 0, 0, 8. 0, 0, 0, 8 on all of them. It's going to suffer a little because I'm basically resizing this displacement map, so it doesn't like that, because it has to recalculate the whole displacement. Because of that. So the ground is there. Let's reload this whole thing, because let's make the liquid disappear. Let's work on the symbiote first. And then I'm going to abuse this glossiness value on the ground because I want it to be really popping. And let's add some of those AOVs just to see what's happening. Diffuse reflection, maybe transmission and subsurface scattering. And in the info here, we'll just add, let's say, ambient occlusion obviously. who doesn't have that shading normal, some UV coordinates, who knows, maybe we'll need it, and some Z-depth. Z-depth max will be 3, something like this, and then maybe some cryptomat nodes, material node name. Let's update this menu, see the reflection, sub-surface, see I don't have anything now, but when we'll apply this, we'll work on the symbiote, we you'll see the difference. So I like the grain that we have here. There's some motion learned at the field. Let's work on this symbiote material. Let's first of all, let's import the map that I created in Substance, but it was a really quick five minute texture that I did there using a procedural map, Texture RGB. We'll import this guy, the symbiote diffuse, the let's apply it directly to the diffuse color here. And yeah, it will not see the difference because it needs to refresh it. But we also have a, if you remember correctly, have the color here. So let's export the color in the attributes section. set the CD and also let's go to the materials and let's maybe increase let's go to this texture environment here and let's play around with the maybe like this because we're going to read the HDR as a linear as RGB so Yeah, something like this. Yeah, let's keep it like this. We have some passes here, some ambient occlusion, normals, UVs, ZDip, and Cryptomet. So the lighting is all right. Just let's go back to this, to this symbiotic body texture. Let's reload, fully reload, just to see the texture color are a little guy. This is the procedural map that I used for the diffuse. But we'll be actually mixing this texture with mix, tool mix texture, and we'll put a, lay down a color RGB, set it to something like 0333, 0333. So something there of that type, and mix our RGB texture with this guy, with this guy and use a color vertex attribute that we exported, which is the CD attribute. And we'll invert this guy. Let's color correct this texture. Color Correct Maybe we will not need the invert because this is how it's supposed to be I think I inverted the color before when I was baking it into the mesh. So let's color correct this guy Saturate it a little bit maybe and contrast just a little bit tiny bit contrast and then Maybe make another version of this color correct and set the saturation to 0. And also the intensity, the brightness of it is 0, 0, 0, 2. And I'll use a specular, also we can add the tool next texture, we'll use it for the albedo right here in the SSS. And let's create a, let's change the parameters of this guy. Maybe in the diffuse, we have to set the transmission to a gray color. So let's make a, in order for the transmission to work, we need to set it as a color, which is going to be something like, let's put it to white, set it to white like this. And we already have something interesting, a blending between the solid color and the the texture and we're going to use this color corrected color texture like diffuse texture to drive a specular layer. So I want a specular layer to go into the right here and we'll use this map as a bump here and as a bump in the main material. Yeah, something like this. All right. Okay. So let's go back to the random walk, maybe increase the density, so it's less translucent. Let's check the subsurface. So we have some kind of skin texture, some subsurface scattering going on, and in the transmission we have the color. But I think maybe, yeah, fixing the gamma, but if we keep it like this, it's going to be like this I think. So yeah, this guy, this color, this light really shining on top of the scene. Yep, so what else can we do in this? This guy is going to use HDR as a source reflections, refractions, and lighting. We have actually enough detail on the ground if we disable the ToF. It's looking good, just maybe a little bit too saturated. So apparently I used the HDR in sRGB color space. I didn't go into linear so it was kind of like this but I have basically for the texture color vertex attributes actually I really inverted the texture so when it inflates it reveals more of that texture and there's one nuance that I should have fixed actually basically I should have left the color only on the bubbles not on the tentacles I don't want the tentacles to be switching from white to black so we have to fix that. Let's see how we can do this. Because the mesh is already kind of baked. Let's see what we can do here. We don't have any groups here but... Yeah, I should have saved the color properly at the time. if we were to transfer only to the to the body yeah so let's see yeah our Tetras animated they don't have any Tetras yeah we may fix it probably fix it here in this node on the output of the vellum we can maybe set the color of our everything but the bubbles. Let's hit black. Yeah, something like this. So yeah, that works. Yeah, and let's see what happens when we transfer this guy. So what I did is just apply to all groups except the bubbles, apply the color black. So this exclamation mark before the group means that it will apply this operator, the operations in this operator, it will do them only on the groups that are not this. so all the groups accept this. So yeah this fixes the issue. I'll have to rebake the whole mesh I think. Yeah so we transfer only to the bubbles but I wish I could. I think I will just let's actually be blur this on top of the... oh we actually have an actually blur but it's for for the position. Oh yeah, that fixes a lot of stuff. Let's duplicate this guy, put it here, but set the CD attribute as a source. So you can see that it kind of blurs the inflation. So I'm blurring the color at the edges there, which is great. So let me, 20 is fine. Let me re-bake this sequence and I'll come back. So I'll bake this mesh again, with all the colors affecting the bubbles, which is what we need. And let's run the render again. We have this camera just a little bit weird that we have this key offset like this. Let's fix it just a little bit. And yeah, that's alright. Yeah, that's cool. Let's try to render this frame. There's a QT render viewer integrated into Octane already, but I still am sticking with this one. Well, enabled it off. And in the camera, sampling... Yeah, in the Octane Matte Render Target, we'll go to the camera and remove the autofocus, big focus. Yeah, so this is what I want to see. I want to see this subsurface scattering on the arms and the texture appearing only when the bubbles are inflating. So this is the goal here. So this is good. Now let's see what's happening with the displacement because we want to add some displacement to this guy. We didn't add it yet, so let's type in displacement. Bring in our displacement texture, thisp, connect the texture with displacement, connect this to the random walk because it requires displacement, and into the diffuse and we can see that there's something happening there but we have to set up this node properly so it works well with the... so the parameters for this were 0.05 as a mid-level. Oh and I forgot to mention the level of detail on the ground displacement so here we'll set it to 0.015 like the ground was 0.025. As you can see in the shading normally you can see the displacement appear. This is the sculpted detail. Maybe we can even increase it a little bit more. It follows the... yeah that's cool. And we have those veins kind of popping out and we have this subsurface happening here. Subsurface scattering transmission. You have the transmission here you can see what's happening. That's cool. Let's enable the DOS just to see how it works. So we have like a kind of macro shot. Let's set this displacement to like 4,000 pixels and it's going to increase the detail of that map. Let's go back to this ground material and the displacement here also put 8k because I really want to see the grain of the normal shading disabled DOS and you can see that there's detail here happening on the on the ground so I'm happy with that let's reset the view maybe move to another frame somewhere here to the top view yeah so we'll fix the framing a little after this because on some frames the movement is a little bit offset but yeah I'm happy with the shader pretty much the motion blur works nicely and let's see what happens if we add the liquid on top of it so let's go to the object level again display our liquid here we set the view reload this thing and see how it works with the liquid. Previously in that version of the octane I had an issue with the motion blur, so I had to turn it off because the motion blur wasn't matching between the mesh and the liquid mesh and the body, but now apparently it's fixed. So let's reload this. It's going to take a while to load the liquid in and you see that we have some issues there, the liquid, the liquid is kind of floating I think or not. Yeah, let me see if it's because of the motion blur, because I had this issue before and yeah, sometimes it happens, let's disable this, reload. If the white spots it disappears, it means the bug is still there, it's persistent. So yeah, we're waiting for this to load again. Well, maybe yes, maybe not, but let's go into the liquid shader. I forgot to do something there. Fluid. Let's make it a little bit more complex. What I want to do is add a specular layer because there's non-specular layer. Let's connect it to the layer thing. Here we'll just leave it by default, we're not gonna change anything, but we're going to mix, use a duplicate of this mix. I'm going to disconnect these guys and duplicate these colors here and make another set of colors. The first color is going to be black. Completely black. And this one is going to be like a light gray 0 1, 0 1, 0 1, 0 1. I will connect this guy to the roughness because I want to vary the roughness of the specular layer. That already looks cool. It looks like some kind of a strawberry, maybe raspberry jam or something like this. And the color vertex attribute is there. Let's maybe add a gradient, tool gradient. And what's crazy about this node, what I don't like about it, is the first two inputs don't have anything to do with the input that you have to insert. So sometimes you're inserting a parameter where it shouldn't be. So you have to connect it to the third input. So it works correctly. So in the gradient here, the gradient, it acts as a level node or effect in after effects or curves. What we're doing here is just pushing the whites a little bit further. So you can see that we can get some nice contrast between the black and white areas. So if you remember, I mentioned before that the color attribute on this liquid represents the viscosity, which was mapped between one and three. And yeah, so this color is actually the viscosity. So we have some variation, it's like some blood clots or blood areas with a lot of reflections. So I like this a lot, I like how it looks. We can maybe play around with the shaders here. Maybe I forgot to do something else on the Symbiot body. We set a specular layer which is completely 100% reflective and 100% there's no gloss in this involved here. So let's set the roughness to 0.05. so you blur the reflections just a little bit. Same with the liquid, I don't want it to be perfect. So let's set the roughness here to 0001. We have some nice reflections there. Yeah, so what I liked about this simulation is you know these bubbles forming on the ground and they fall down and they still kind of move around. If you zoom out, you can see that I have the displacement happening on the ground. And what I'm afraid of is, Let's see what's happening underneath. So yeah, the ground, it's just this penetration between the liquid and the ground is correct. It should be there normally. Usually you should have it also when dealing with refractive objects containers that contain liquid. But this is another story because it involves setting priorities between the liquids and the liquids will have a correct order in order for the refraction to work correctly. In this render target, you have an option here, the PT kernel, I think it's called nested due to the electrics. So this affects refractive objects that interpenetrate, like for example, a glass bowl that's inside the liquid, that's inside the glass or like a transparent object. So you have a bunch of things to consider there. So in the specular material, I think, you have this priority here. It will define which surface is going to be rendered first in the refraction. So it's really important to keep in mind that there is an option like this. When you have a bunch of self-contained refractive objects one inside another one. But yeah, that's cool. Let's turn on the DoF. I like the little reddish, bloody spots because they give you some variation in the liquid. I'm pretty happy with the shader, it's really simple. It has a refraction, but it's not really transparent. It has that subsurface scattering happening there. So if you go into the subsurface, you can see that there is something happening in the subsurface scattering there. If you go into the transmission, you can see that there is, again, like those bloody spots, they come from the viscosity. And yeah, the beauty is there. We have the wrinkles happening here. If you remember, we did the wrinkles, it wasn't for nothing. you can see them in the render. So yeah, that's cool. One thing, I'll just go into the render target, AOVs info, and here the AO distance, maybe it's too much. Let's decrease it. Maybe zero one. I don't know if it affects at all. Oh yeah, so, because I think once it reaches a limit, it doesn't spread even more than a certain limit. So even if you increase it, you'll not see the difference. So zero tool, let's say 20 centimeters. And it's kind of wide. I don't want it to be narrow. Otherwise it's going to be really contrasty at the edges here underneath the... So what I can fix, the occlusion pass usually helps you out with fixing the gap problems here. So let's go into the joey body in the math context. You see that there's a gap. It's only because of the midpoint that I set in the displacement map of the symbiote body. So the midpoint is 0.5. Let's push it kind of a little bit further, see if it fills the gap. It does the opposite, so let's do 0.4. I want it to push a little into the liquid mesh, so we can have a little bit more of that. And decrease the displacement because it's kind of too much. and we'll probably get rid of that white reflection in the white in the refractions or maybe not, we'll just make it even more obvious 0.545, basically because of the penetration between the meshes 0.55 so yeah, this will basically get rid of it, but the occlusion will Well, it's a treacherous pass because it will show that there's a lot of gaps there. Let's see if... We'll leave it at 0.4. We'll have those white spots again. And let's see if we can do something about it in the symbiot fluid material. And... So in the random walk, I set the density really high. 25. Yeah. that liquid becomes more dense in terms of translucency. So we will not see the material will become less refractive. That's why we lose those spots. But we had them because of the low density. So it becomes almost like glass. This is why we see a bunch of things happening there. So let's maybe leave it at 0, 0, 2. Play around with the bias. So if you go, the bias is really high. We'll get rid of some of it. But it's not that. Yeah. Let's revert back. Maybe we should even keep that gap just to fix the problem. That's funny. Now it gives us this edge basically the body mesh just cuts out the liquid mesh. This is why we have this. Let me think what we can do, but for the time being we'll just fix it by setting back the displacement to 0.52, 0.54, let's say, yeah, something like this. It will get rid of most of that white effect. And it's satisfactory, we will not see it do anything weird there, but let's turn on the motion blur, so we discovered why we had those spots. So let's uncheck the useless stuff. Yeah, so let's reload, see what happens. The rest of the magic will happen at the compositing stage, because there's a lot of stuff you can do in Comp. I recently switched to Nuke, but I'll do the compositing in After Effects because I had the Comp already done, so I'll keep it like last time. Yeah, so basically the motion blur offsets some parts of the mesh. But I prefer to have the 3D motion blur on because I like the real motion blur instead of the fake one. Here's ZDep. It's all good. It looks cool. So yeah, we're kind of done with the shading part. I'll probably look into what passes we can output, what else we can output. But I think these are all the passes that I wanted. I don't need too much. The compositing will be really simple. We'll use the beauty. Directly, we'll beat around the bush. We'll just go straight with the beauty, maybe. Add some reflections on top of the beauty. Amplify the reflection, basically. I will not recompose the whole thing from scratch, like you're supposed to do. But yeah, we'll do that after the rendering is done. And let me fix the camera and launch the render after this. and it will be good to go for the comp part of this tutorial. Yeah, so we'll keep the motion blur on. I'll just take the camera, and let's go into the object level, disable joey fluid, switch to this more optimized light guy. So what I don't like is when it pans a little bit too much, doesn't center the... yeah, I'll disable the noise because this is the button you press just to activate node in the chop's network. So if you go here, where you can go... here maybe add another key right here. Press this lock, just Let's pan this out like this. And set the key there. So I'm not going to render the whole sequence, just 200 frames. This is going to be enough for this tutorial. From 200 to, yes, or we'll rename it 20 to 220, this is going to be enough. 200 frames in animation. Let's go back to this fluid, turn on the fluid and activate this guy. So, disable the lock, save this file. And let's meet in the next one where we'll composite this thing, but we'll set up the parameters, we'll remove the override here. in the output we'll set the linear sRGB, pre-multiplied alpha. We don't really need this because we don't have an alpha. And type in the render, symbiote, render v0 one, xr, 610 bit and one scanline zip. And yeah, xr layers short names just to keep it short. Motion blur on, all good. We'll have to go to the render target increase our samples maybe 1,500 and parallel samples to 32. It will consume a little bit more memory but it will be faster and maybe I don't you all not use the denoiser this time just use the regular so yeah I'll keep it like this all good passes there all good go back to the alt and press render and save the scene. I'll render this and come back. See you in the next one."
+    }
+  ]
+}