We have already seen.
So how can we configure
We've already seen how we can add a phase subsuming effect.
Katheryn.
Simple, using the TRASLUCEN properties of our standard material
and now we are going to see other methods to generate sub phase effects.
Kathryn in a little more advanced way.
The first one that we are going to see is the material of my special king for subsoil
and skate Robin, which is called Breakfast raises the countries of her Kathryn two.
We are going to assign only these two elements that I have here for tests
and we basically have a complex figure
in which we can visualize the effect in a little more complex way.
And then we have a very simple piece where we can see the radius
that's going to progress from a very tiny thing to a larger radius.
And this will allow us to analyze the behavior of our subsoil
in two ways,
both in a super simple element and in a complex element.
Within the properties of our subfloor material is Kathryn.
We will find at the beginning of everything a tab with a series of presets
where we can select.
Well, for example, imagine
that we want to reproduce the behavior of milk, for example,
because we select this preset and it comes configured with a series of
characteristics prepared to simulate whole milk.
In this case we could select cream.
We can also select, for example, skin, we can select
orange juice, etc. There are some presets that can
help us to start our first materials.
However, in my opinion they are not very accurate in the sense
that the albedos are probably for these materials, as they are not correct.
So let's start first.
Before we get into using these presets,
let's start manipulating our controls from top to bottom.
The first thing we have here is the refractive index,
which is going to significantly affect the behavior of our material.
You already know that the refractive index represents at what speed
light travels with respect to a vacuum within this medium.
This conditions two things is the trajectory.
One is the trajectory of the refractions
and the other is the amount of reflections that occur on the surface.
Normally, if we are going to make a dielectric in this case, we would
work with values ​​close to 1.52.
If it is about liquids, it is likely that we have to use
values ​​closer to the one that comes by default, such as 1.30 or 1.32.
For now we are going to leave it at 1.52 because we simply
want to observe the basic behavior of these properties.
Now, when we have introduced the behavior of your observation,
we will come to review what the scale parameter means.
So that the control of this material of your observation
is that we do it fundamentally in this tab here
where you put your subsystems or Scatter Layers.
First we have a general color.
If we leave it blank, this parameter will not affect
our material at all, but if we change it to other colors,
it will produce a general tint of this color on our subfloor.
It's silly, for now we are going to leave it deactivated or blank.
Then we have another parameter which is our diffuse diffuse color.
In this case it will not have any impact on our material either,
because below we have another parameter that is the amount of diffuse by default.
The fast sub surface material is that it comes to have a 100% sub
surface is Katelyn and 0% behavior.
We already saw something similar to this when we studied the creation
of materials with its catering absurdity, with the simple editor
that we sometimes had to reduce the amount of transfer.
Well, this would be something similar if I put one here, for example,
this material has nothing of its absurdity
and the only thing that I
am going to see of this material would be the diffuse color.
If I put 0.5, for example, we will have 50% of the color
and the other 50% of its absurdity is catrín.
So in principle we are going to leave this at zero
and we are going to try to create our material with exclusively
our effects of their absurd catering in creating their absurd country.
It's catrín with this material we have two different methodologies
one would be Sub Surface Color, plus Scatter Radius,
which is the one we have by default and I like it the most.
And then we have another one which is Scatter Coefficient
and Font color, which is more like what we've seen before.
This has more to do with absorption, while with this other parameter
we can control the sub
phases in a more visual, intuitive way, in my opinion.
We have two
parameters that condition the color of our object and its subsoil.
Six.
Es Katheryn Sub Surface Color is what would come to replace our diffuser.
It is basically the general color that our object is going to have.
So if I put a dark green color here, for example,
my object, even if it doesn't have anything diffuse, will have a dark green color.
This is something similar to what we achieved with our color,
with a very high intensity.
And now
we have the possibility to specify a scatter color.
This allows us to specify what color the areas
where our Sub Surface Scatter occurs.
In this case we are going to put a very distinctive color
so that it can be seen well in the examples.
As you can see up here, in the part, at the tip of this element,
we can already begin to intuit that this yellow color appears
in the narrowest areas of our material.
And finally, we have the radius of our countries.
Kathryn.
Right now we only wear an inch like these.
They are quite large pieces.
This means we only have a little bit of up, Kathryn.
But if I
start to increase this parameter, we are going to set it, for example, to three.
How do you see the area with Sub Surface?
It's Kathryn.
It starts to grow and more parts of this model have subsections.
It's Kathryn.
Let's exaggerate it. Let's put it to ten.
As you can see, with ten there is already a large part of the object
that has the behavior of its phases.
Kathryn can also be seen here in our little dragon etc.
Then, basically we have two colors, the general color of the object,
the color in the parts with their phases.
Kathryn and when she phases up Kathryn we want
how much radius we want in this material.
And then we have two options that directly affect
this behavior as well.
One would be the six function.
This is similar to what we have already talked about Four and Squares.
Kathryn with zero we have a is Kathryn that is equal
in all directions with positive values.
We have one is Kathryn that is more typical of liquids.
Light tends to pass through our material,
so if we put values ​​here like 0.8,
we could start simulating maybe
being juices or similar things,
while if we put negative values ​​we are simulating
harder objects where light tends to bounce out quickly.
It could be useful, for example, to simulate things like marble,
gems or minerals, for example.
We are not going to spend time finding the radio because if we are not going to do
very strange things here.
So in principle now we are going to leave it at zero,
later we will see how we can manipulate this effect.
And finally, once we have
the basic properties of our subsoil set up, it's Kathryn,
It is when we can begin to use, for example, the scale.
If we increase the scale, basically
what we achieve is that the entire effect is multiplied by two.
In this case, if we put three, it is multiplied by three,
and if we put values ​​smaller than one, we manage to greatly reduce the effect.
It would be something similar to our radius,
but that affects the set of all our parameters.
Normally we'll just leave it at one and control our catering
with these properties right here.
And then maybe if it's a different object
where we don't want to have as many Kathryn,
we can manipulate it through the scale.
This would be the basic way to control our subs.
Orpheus is Kathryn.
As you can see, this material has, in addition to the parameters of your countries, Kathryn,
some specular parameters that would be
the specular reflections that occur on the surface.
And they come configured by default
with a maximum reflectivity of 100%, which is correct.
An amount also 100%.
If we put here zero, deactivate, we would give this layer of speculars,
as you can see, and we would only be left with the subsoil contribution.
Kathryn Next we have a balloon.
It is that right now it is set at 0.6, but perhaps we are
going to raise it a little to 0.85.
Then we have a number of
subdivisions representing the quality of this effect.
We also have the possibility to activate or deactivate the reflections
and we can configure,
as in the standard materials, the depth of our reflections.
If we want, for example, if we have two objects, one facing
the other, how many consecutive reflections can be traced?
This is very similar to our materials.
However, this layer of speculars within our fast subfloor,
Kathryn has a bit of a problem and it is in fact one of the reasons
why we will probably prefer to use materials
like the Surface instead of our fast subfloor later on.
Kathryn
The problem with this specular layer
is that if we use closing values ​​it is very low.
We're going to start getting some erroneous behavior,
as this layer of speculars doesn't have what we had
seen in the standard material editor which was called Glossy Fresnel.
Therefore, for closing values ​​that are very low, the behavior
that we obtain in this material is completely incorrect.
We should perceive much less
reflectivity as you see here.
This produces these targets that we have already studied.
They are not correct.
So what can we do if we like it?
For example, this material for the base to generate our sub sus six
it's Kathryn,
but we don't like the specular layer that comes included
in the underlay material. It's Kathryn.
We have already seen that we have the possibility of separating
these parameters using a blend material.
For example, we could use a wine and blend
the base of our blend material is going to be our sub surface.
It's Kathryn. No reflections.
We're going to assign this to
our material and we're going to create a second material.
In this case it will be a material
with 100% reflectivity.
We are going to deactivate the Fresnel effect, we are going to put its diffuser
completely black and we are going to connect it as each of our material.
And to mix both materials we are going to use a Fallout.
In this way we will be able to have control thanks to this blend
between the base reflectivity
that we are going to specify
with 4% in this case, in this case perhaps instead of doing it here,
we are going to do it below, which is easier to specify the absolute values.
We are going to put
4% of this material here,
we are going to put 0.04
and here also 0.04,
which would correspond to a fraction of 1.5.
And now what we can do here
is basically control the maximum reflectivity by lowering this amount here.
So if we introduce the pins very low, like
For example, the one we were introducing before was 0.3 or something like that,
we can condition the maximum reflectivity and reduce it
to avoid this undesired effect.
This would be one of the options.
As you can see, it is not very intuitive and requires us to be able
to adjust this curve depending on the purposes of our reflectivity,
which is quite tedious, since we would also have
to reduce the base reflectivity a bit, etc.
So let's see later how with the sources these problems disappear,
but in the meantime we will continue to explore
how our subsurface material works.
It is Kathryn, since for materials where the closing is high
Well, we don't have any problem and we can simulate it
perfectly using this material.
We are therefore going to create
a very typical material using this subsoil, but it also allows us to analyze
very well the behavior of the subsoil,
which would be a marble.
I am going to use this texture to simulate our marble.
This texture, if you notice, has no completely white value.
This is something we have already discussed in the course.
The albedo is a super important characteristic when creating materials,
and it is also important when we are talking about subsoil.
Remember that Subsuelo seis is catering is actually the same as
the diffuse but carried out in a more advanced way.
Then the albedo of our subsurface is Kathryn.
It also has to be the right one.
Then, if we find, for example, a texture like this, where there is a
very high contrast, where the luminosity values
​​are very high, we probably have to edit it in Photoshop
to end up with a texture with a more correct albedo.
Then we are going to use this texture that I already have prepared,
basically as a reference for Albedo.
Remember something white, white, white is never going to exceed a white value
of 200 or 204, which is very, very high.
An ordinary white wall, for example, probably oscillates
the 180 linear value of white.
Then, if we are going to make a marble, well, we will have to walk more or less
around those values ​​and we are going to check it.
If you want we can use the color pipette, for example of our, of our
lives there and here we can find out what value of white we are introducing
in this specific case.
As you can see, we are introducing approximately 76%
, which corresponds to 195.
It is very white.
In fact, I could probably make it a bit darker,
but for this exercise I think it's enough, not bad.
And where would I introduce this color?
I would enter it in the sub surface color or in the Scatter Color.
Normally the texture that will define the general appearance of our
Surface sube is Cathryn.
We are going to connect it in our colored subsoil
and we are going to define the color of our
translucent or our subsoil countries that attract independently.
For example, if we are going to create a marble,
maybe we are interested in a pinkish color like this one that we have here.
Another thing we can do is directly
select the marble preset that we have in our
material editor and it provides us with this color as a reference.
I am going to exaggerate it a little, as I always
tell you, so that you can see it better in the video.
Let's make it a little bit pinker, kind of like that and
We are going to put a larger radius, maybe three centimeters.
Such a thing.
What I want is that it can be seen well in this video.
If you pay attention, when we have selected the marble preset,
a tweet has automatically been configured for us.
This means that light has a greater tendency to bounce
outwards.
Notice, for example, that in my complex object,
since it does not have mapping coordinates, I am not seeing this texture represented.
You already know that in objects like this
what we may need is a planar texture type.
In this case we are going to create our vibrato and for the textures
we are going to connect our texture through our type to give texture
and this will allow us to scale
our texture and now we will see it represented correctly
in both three-dimensional models.
In principle I think this may be fine for the example I have in mind.
Note that even though we now have a
surfer and skater behavior here and it seems quite reasonable, perhaps
we could even make it more saturated so that it looks
even better in the video and a little pinker.
Something like this can perhaps be seen better on video.
What can happen to us now in this material
is that we want to make certain zones exist, for example,
the zones that are defined by these veins in the marble,
that they do not have the same amount of subsoil and are spared.
For example, this amount is fine for white areas.
However,
for these harder parts of the marble I don't want the same amount of subfloor.
Six is ​​Cathryn.
This can become very important to define
the properties or the visual aspect of our marble.
Then what we would need to do is somehow use
this same texture so that there is a different radius in those darker areas.
Then we will need to map our radius.
To map this radius.
We're probably going to need an output.
This iPod is going to allow us to greatly contrast this mask.
Notice that right now this texture does not go from white to black,
so it will not produce a very contrasting effect in the areas
with catering countries subsoil and without subsoil, catering phases.
So what we have to do here is contrast our mask.
What we're going to do here is we're going to create a much whiter
and a much blacker mask.
I'm basically having contrast.
You could have prepared this contrast with the texture in Photoshop,
but in this case it is easier for me to do it directly with a put
and thus I can reuse the same texture.
And now, to map our radius, we simply attach this new texture
to our radius.
Remember if we are using This to texture,
we will have to duplicate our type node in the texture
so that it has exactly the same scale.
And now we plug it into our radio.
As you are going to see now, the result is different.
Now, in the beta zones of these black zones
we no longer have the same number of sub surfers.
It's Kathryn and this adds realism to our material,
makes it seem more believable because there's complexity in the material.
Mind you, even this tiny beta here introduces
interesting variations to our catering,
giving our marble much more credibility.
But this would be enough to define our marble.
We don't need to do anything much more complex either.
I'm going to exaggerate the contrast more so you can see it better.
Here you can appreciate it and as you can see, with this we have achieved a
much more
complex suburb thanks to the fact that we can map our radius.
Now, if we wanted
to use another specular layer, we would do this little trick with a blend
and in this case, since it has a glossy it is quite high.
In my opinion it would be enough to leave it as it is.
What we can perhaps do is add a bit of complexity
to our candy so that it is not so uniform, so that it is not so perfect.
For this we are going to use, as I always do,
a dirt texture.
Remember that I have shared some textures from my personal pack
of dirt textures so that you can try them.
And for example, in this case I'm going to use this dirt texture
and since we're working all the time with our texture type,
we're going to use the same texture type again.
In this case, for example,
if we want to momentarily visualize our layer,
we can connect it to the diffuser, momentarily set delicious to 100%
and thus we can visualize
the scale of this mask a bit, which for example seems fine to me,
if I didn't like it I could go here and make it a little bit bigger
or a little bit smaller, for example.
And now, once I've been able to visualize the mask,
I can deactivate the bus again and connect this mask
as a candy mask.
We connect it here to our Closing.
It is what is going to happen to us.
It is that since the mask is a mask that goes from black to white,
the contrast will be very marked and as we have
always done, we will use an output to define the values ​​of the genes.
For this texture we are going to define, for example, a minimum value of closing
is 0.6 and a maximum value of 0.95, for example.
And with this we would have added a bit of complexity to our material.
We are going to navigate a bit through the scene,
perhaps we are going to establish a different exposure
for our perspective, as
we are going to use it to explore this space, perhaps too much.
Let's try eight.
Although well, here you can see the effect of Sube Success Catering,
but we are going to try with a little more exposure.
Eight is still a lot.
Let's try 9.5.
We could have gone to the camera and exactly copied the exposure value.
But well, in this case I didn't want to do it because
we were able to do it quite quickly and now we can better explore
this scene a bit, get closer to our object and see the behavior
of this sub surface is Kathryn in our complex figure.
We're going to zoom in, maybe here or in the back that used to have a
lot of other countries.
Kathryn If you pay attention, there we have that pink effect of the marble
that is much more intense in the white areas than in the black areas.
You see here, for example,
it is perfectly appreciated and this gives our marble realism.
Here, for example, it can also be seen perfectly.
Also, our specular layer has a certain degree of complexity
because we have added a closing layer to it.
It is a map of sweets that makes it not so homogeneous.
The closing is from the surface.
And notice that it has been relatively easy
to use this material from his absurd catering
and it has allowed us to achieve very interesting results.
Notice that here, unlike what happened to us with our
standard material, we have been able to create a white material with an underlay.
It's Kathryn using 100% of the catering for her.
It is, of course, more advanced.
But also, I have already told you, you have to take into account that it consumes more resources.
We are going to finish seeing the properties of our subsoil material.
And if it's Kathryn, maybe we'll take away a little bit of exposure here.
Something like that to see
the effect more contrasted.
And now we only have to see the options that we have here in
singles catering.
Basically this is the way our single skater is going to be calculated.
We have to decide between four possible options.
It would not be to disable this simple effect,
it would be to have it calculated on the surface of our material.
In this way, it would be like for hard materials,
for example, where we do not want to invest a lot of time in making.
This calculation would be calculated directly on the surface,
as if this were a solid object without its nonsense.
It's Kathryn, and it usually works pretty well.
Then we have two other options, one would be Set,
where an internal Rate Raisin calculation is made within our object,
it is more precise than simple, but it also consumes much more time.
Then we will only use it when the subsoil effect
is quite marked.
If we perhaps start to increase in this parameter
and we are interested in obtaining a
slightly more credible result, we are going to try it here so that you can see the difference.
It is quite similar, but when we use simple
we have a duller effect than when we use we
have a more contrasted effect.
And finally we would have set ref active,
where in addition to internally calculating
the values ​​or rate of this object,
refraction rays will be calculated when this can be useful,
especially when we have liquid objects, very transparent objects
and we want the light to behave correctly when it passes through that object.
Maybe if we wanted to create something like here are some presets like for example
water, or maybe like orange juice or something similar.
Let's turn off the textures
so we can see the original values.
Perhaps in these cases it could be interesting to use right set,
refri active, since they are materials where refraction is very important.
We're going to go back to our marble, our marble present,
and we're going to turn our textures back on.
The normal thing is that if we want to do something basic we use simple, it is the fastest.
If we want to use something a little more realistic, let's use React Set
and for liquids we use Ref Active.
In this case we are going to increase the scale a little again
so that it can be seen correctly and we are going to put that
pink color here that we previously had in our marble, for example.
This could be a way to simulate the classic
backlit sheet of a material like marble, for example.
As you can see, it is a more advanced subsoil system.
Kathryn, which allows us to create more complex materials.
Possibly the most important part to get realistic results
is to map our radius, because with the radius not mapped
here we will get a bit more of a fake effect,
because the dark areas have the same amount of subsoil
than the white areas.
And this is not usually the case.
So just by mapping the radius we have a more believable effect.
Now we are going to see another material model with its catering phases
that we have in Vray, which is Biblical Sources.