Hello everybody and welcome to this video where we're going to have lots of fun making a dynamic material
not only just the materials going to change over time but we're also going to deform the mesh as well
using a very similar technique.
So as you can see with this video that I've got up on the screen at the moment we're going to start
with a nice glossy finish.
We're going to decay that we're going to make it rust away and then we'll get actually deform the mesh
based upon that.
Now we are going to use a few of the features a blender two point seven nine.
So if you've not Paul VI installed on your computer we're going to have to do that.
So two point seventy nine is the starting point you will need for this video.
Namely we're going to use the principle shader and some of the experimental features will be a bit more
stable as we use them into Point 7 9.
Now if we have a look at the screen over here we have also a few things to do to set up.
So let's go ahead and do that now.
So I'm going to click away to dismiss the splash screen.
And we got the default cube.
Now you may have other add ons installed.
This is a pretty stock version of blender.
But we're going to have to make sure we got a couple of things installed.
First of all so you guys can follow along without any issues.
The first one that I want to show you is when we're going to be rendering we need to make sure that
we're in cycle so we go to the very top on the info head a bar and switch that from Blender render to
cycles render because we're going to use the cycles rendering engine the next thing that we're going
to need to do is go down to the render properties and make sure that the feature set is set from supported
to experimental.
Now here comes our first warning when it comes to using the experimental features.
It is incredibly important that you get into the habit of saving and saving regularly because as we
go through this you will find that occasionally blender will crash.
Not only are we using an experimental feature sets but we are also going to be rendering a lot will
have to come in and out of rendering to show what is actually going on on the screen.
We won't see some of the output until we do that.
The next thing I'm going to do is go to my add on and go to the File menu come down to the user preferences
and from there we can go to add ons.
And I'm going to enable node Wrangler I don't think I'm going to be using anything out soon the search
box I've typed in notes or I don't have to go searching.
And then finally we've got node Wrangler.
Make sure there's a tick in that box.
Now in general that's a good one to have on any way at the moment.
It will just apply to this current blender file we're working on.
But if you want it to apply to every blender file you can go ahead and save your user settings.
Once we've gone ahead and done that I'm going to close down the user preferences and save my files so
we get going and I'm going to save this as Rusty.
Pipe.
Okay so let's crack on now and start generating our object.
Now in this particular case I decided to create my object in a slightly different way.
So even though it might look like I've extruded a cylinder or something like that in this case that's
not what I've done something to clear down wanted to go into edit mode actually on this Q and just delete
the top vertices.
And I'm in virtex mode at the moment so I'm just going to quickly select holding the Shift key right
click for those top few.
I'm going to press the x key to delete and I'm going to select vertices.
This will leave us with something we can work on now that ideally should be in a better position than
down there but we can sort that out in a moment.
The next day I'm going to do is delete the face.
So let's go ahead and delete that face.
But I'm not going to just do faces and do only faces and that will leave the surrounding edge so this
will be the base for our pipe that we're working on our rusty pipe.
But the next thing we need to do here is actually add something else to give it a bit more interest.
That's really all this is about.
I mean you can you can create your own shape as you go.
If you wanted to select everything here and move it up on the z axis by one so it's in the middle of
our scene.
Now I'm going to move across.
It doesn't matter whether it's in the positive or negative direction here but I'm going to move it in
the x direction so g x and then buy one.
So we've got our our bass coming together here.
Now the final thing I'm going to do is I'm going to go back a virtex Select and create a triangle going
up here so I'm going to extrude.
So E for extrude.
So we've got this now floating virtex connected with an edge and a groove Z by two.
And then I'm going to move that across in the y direction by once a G.
Why one.
And then I can extrude down to this vertex down here now in order to make sure I'm not faffing around
trying to join these two things together in a bit.
By removing doubles.
What I can go ahead and do is when I extruding I can snap to virtex and merge vertices automatically.
So we go along to the aethereally head a bar here and we turn on snapping which is this little magnet.
Now if you can't see everything if you've not got a high enough resolution display you can use the mouse
wheel to scroll backwards and forwards on any of these header bars where you can't see anything.
I'll just demonstrate that if I pull this across so we cannot see that magnet.
We can use the scroll wheel to pull it across and then we can see it.
This just make that a decent size again.
Okay the next thing is what are we going to snap to Will increment might be fine but I'm not going to
risk that.
I'm going to actually try and snap to the vertex and this means we can pick this individual point here.
Now we go ahead and extrude and puts a vertex on top of here will actually end up with two vertices
in one place occupying the same space.
So in order to make sure that doesn't happen I'm going to go along a little further and there's an ought
there's two arrows butting heads together and that is automatically merge vertices moved to the same
location and because with snapping it will be the same location.
So with all those three things sets I compress each to extrude again and this time I just move my cursor
over that Vertex.
There we go and it snaps in place and it's merged and if we print G we can see that that is moving all
together.
It's not moving individually so perfect that's that's actually everything we need done in order to set
up our basic shape.
Okay so it didn't quite look like that it looked like it was there was two of them and that's what we
need to do so I'm going to go ahead to the modifiers tab and come out of edit mode into object mode
and then from here I'm going to go and go to the modifiers tab in the Properties window.
And I'm going to add our first modifier Now there are going to be all three or four modifiers as we
go through this.
But let's go ahead and add our first one our first one is going to be a mirror modifier So we're generating
new mesh data so we go to the generate column.
If we go down there it is mirror.
Now fortunately I've made it along the x axis so when I reflect it among the x axis it does actually
just put it there which is absolutely fine.
I'm also going to turn on clipping if I accidentally go ahead and move any of this geometry What I don't
want to happen is for it to end up with intersecting geometry turning on clipping will help prevent
that.
Okay so that's the first modifier set up.
Now if we go ahead and add in a nother modifier this time a skin modifier.
Now this modifies actually go it's another generate generating mesh.
We go to the skin.
We can see that it puts around our sort of been that we had created.
Now this isn't ideal at the moment we can see blatantly here that this is well not to be there at the
moment.
It's very rigid.
Now this might be a look that you're going for that's absolutely fine.
But that's not the look for I want to go for.
So in this particular case I'm going to hide away the skin and hide away the mirror.
Just dropping those down.
Now let's just see here if a if a modifier the subdivision surface modifiers to solve our issue.
So we scroll down again this is generated because we generate in new geometry subdivisions surface and
that's looking pretty good.
Now let's knock up the levels of subdivision surficial is a little bit more.
Yeah that's a that's so quite a good start.
Now in this particular case there are a couple of other things that we need to turn on.
Now I am going to turn on adaptive and I'm going to leave everything how it currently is.
We may have to work with that later.
Now adaptive is something that will subdivide more.
The close service object is to the camera when it comes to rendering and subdivide less further away
so that basically means that the further you get away from the camera the less room work has to be done
calculations have to be done.
So ultimately you will end up with a faster roundup.
However to counter that the closer something is to the camera the more it might be chopped up and therefore
have a more work that needs to be done.
So if you got a lot of your object really close to the camera you may find that this will slow down
your rendering slightly.
But if you've got a scene like this Let's say we set up the camera along these lines where a lot of
the geometries far back and there's only really this front bit.
That's next.
The camera.
Find that it looks much better when it comes to chopping up the geometry.
When we start deforming this meshes it rusts away in a bit.
Okay so we've got the base mesh all lined up here.
There are a couple of other things that are all one.
To do at this point in time.
First of all I'm going to turn on smooth shade and so in object mode I'm going to make sure that smooth
shading is turned on.
And then I'm going to rename my cue book show rename it let's call it rust the pipe.
Might as well get our naming right from the very beginning.
I'm not sure it took smooth shading it doesn't look particularly smooth flat smooth.
Interesting.
There might.
And let's go ahead now and add a bit of colour to this.
So let's go to the materials tab.
An add in a bass material.
Now this is going to actually be a dynamic material that will end up modifying over time.
But I'm just going to name it pipe for the moment and I'm going to click he use notes.
Let's go ahead and use that new principal shader.
It's basically a load of shaders all pumped together and that actually makes the node set up just that
little bit easier and less involved in some cases.
He also does some calculations in the background as well some highly metal shelfs there and I'm going
to go into the node editor and start editing.
Now before we start going through and adding a ton of stuff here let's just keep it simple so get rid
of our diffuse be STF shader and press X to get rid of that or make sure you've only got that one selected.
Otherwise that can cause you a few headaches.
There we go.
Information is only that selected delete that and I'm going to add in and a shader of type print support.
B s the f.
Now at this point I tend to use the search feature so I will type in P R Ah.
There we go it's there straight away.
That's the general thing that I will do when I'm looking for something.
And here we have the b s t f we can plug that into the surface.
Now will also be using the displacement part of this in a moment.
So there's going to be sort of two halves two on Node structure.
We'll sort out roughly how it looks to begin with and then we'll talk about its defamations So talk
about its colours and sort of building up the model and adding material.
Now we're talking about animating and deforming it over time.
So there will be another modifier will add on in a few minutes.
So our base colour Now I picked green before I'm going to pick red this time.
Now before we do anything else I'm going to save my work.
Okay so there are a couple of other things I just want to finish off here to set the scene and make
sure that it's not so jerky as we start being a bit more advanced with our rendering stuff.
Now I am recording at the moment.
Obviously you are witnessing that.
So I'm going to change my device from my s.p. which is being used for the recording to GP you.
Now you may not have the option in general GP use are going to be there.
This type of workflow especially when it comes to rendering which were going to be doing hopping in
and out.
But if you're working on the s.p. you that's absolutely fine.
This will also work on s.p. Use and you won't have the bottleneck that I have with recording anyway
so GP use turned up just going to save that as we're going through and just test the rendering that
is working Excellent.
Now a couple of other things or look that's a lot smoother as well.
Wish I'd done that earlier.
Let's go ahead and add in a mesh and this time it's going to be a plane and the scale up by a.
A silly amount.
Probably scale by 20.
Excellent so that's all scaled up.
I'm going to rename that ground because that's essentially what it's going to be.
Now what happens if we render this scene now.
Okay it's looking good.
We need a bit more light in the scene now we could go about making a more complex light set up.
I'm simply going to go to my lamp and change its type to a sunlamp and when to use nodes and increase
the strength to maybe 3.
Yep that looks pretty good.
Now looking at this.
This doesn't look like a metallic your a painted pipe at all.
This looks like a lump of plastic at the moment so let's rectify that straightaway.
Let's go to our principal shader and change the roughness.
Drop it down to point one.
Maybe a little higher actually or a little lower in this case so point nought five.
Yes I'm happy with that as a starting value now as it starts getting rusty what we can do is make it
rougher in places and we can change that and guide that based upon some textures in a few moments.
But at this moment in time we're getting everything ready getting a rough approximation of what we're
going to be going for.
Also we can see here that our our object is embedded in the ground so I'm going to grab the ground move
it down on the z axis and by only a little bit because I don't want it to disappear and I think I've
still got snapping turned on if I have that's going to cause me an issue because it will be snapping
to things when I don't want to.
Yes I still have that being turned on.
So let's turn that off.
Grab the floor g z.
There we go it's lowering down and I will not make it levitate about there.
That looks absolutely fine to me.
Just by I it doesn't matter at this point in time.
So we've got a nice shiny metal bar or a painted metal bar that we can start making Rusty.
Now I do want to show you I'm going to save my work do save regularly because we're going to be rendering
lots and it will crash it will tell you it will crash at some point.
We want to avoid that.
But what I want to do here is just show you what sort of notes set up we're going to be approaching
for with the material on here just to give you an overview of where we're going before we actually go
there.
So I'll save that I'm going to open up my rusti demonstration and let's get rid of everything else.
But the note sets up Okay so here we go.
Now don't be afraid when you have a look at this it is a lot going on here but we're going to build
this up slowly as we go through and I'm going to explain what each bit is actually doing.
In fact it does look like there's something that's there that's redundant as well.
By the looks of it this little noise texture at the top here is its outputs aren't actually plugged
into anywhere.
But let's zoom in just for a moment to the principal shade because that's all we really have at the
moment.
And let's just have a look at the few changes that have happened here.
Now the moment we've got the principal shedded coming out and going into the output what the material
looks like what the surface of that material renders like.
Now notice that the first thing that's been changed is the base colour.
And obviously as something goes Rusty it's going to change from its its painted colour to perhaps an
orange colour because it's rusting and because of that we need to control that over time.
And that's why we've got series of notes will look at those in a few moments plugged into the base colour.
The other things that are changing are it's metallic now.
And it's roughness.
Now when you start you will get some metal coming through before it starts going rusty so I'm going
to change the metallic appearance of the surface and also the roughness itself as something goes Rusty.
It's going to be smooth painted to begin with but as it starts to go rusty Well it's going to get rougher
as well it's not going to be as shiny as it once was.
Simple as that really.
So that it is quite complex as you go back here and we can see there's a bit of crossover.
This bottom part is all about displacement in reality.
And this top half is all about how the colours are changing.
However as you can see these nodes are connected in such a way a bit messy.
This is an experimental project after all but these are there's a great deal of crossover because as
you can expect as something starts to rust away you're also going to end up with it changing colour
and the parameters how it is rusting away will also dictate how the colours change as well and that's
why there is this crossover.
So what you do now is hop back into our project and start building this up.
Okay so we're back over in our projects here we've done the modelling aspect and we've got a base material
on here that's the modelling part pretty much done.
As far as this go so we've got all the geometry out of the way the next thing we need to work on is
how this is actually looking in terms of how it's going to act as it rusts away.
That's quite important because it's very easy to basically get the wrong parameters or do things in
a funny order and then you end up having to backtrack.
So let's just make sure we're doing this in a in a more logical way.
Now the first thing we need to do is add in a mix shader Now then switch rended mode on hopefully won't
cause any crashes we do have to obviously be careful of that if it does crash.
I may have to go back a little bit hopefully because I save Reguly that won't be an issue.
OK.
So we have a base colour here we need to go between one set up and another.
And what we need to do in order to do that and there's there are many ways you could go about this by
the way but we're going to try and keep it simple.
And so we're going to have to r.g. BE nodes which are basically the colour red green blue.
So let's go ahead and add in another node and call it what is R G B.
Here we go.
So we've got a lot of options in here but in this case we just want r.g. be and this is basically a
colour selector.
So I'm going to go shifta and duplicate that so we've got two colour selectors we'll have our original
colour up here which is going to be red and we're have a rusty colour for the moment an orange.
That's absolutely fine.
We don't need to do anything else.
The next thing we need to do is mix these two together so we can go from one colour to the other.
Now of course you can do this in multiple ways and in fact you can do it in a gradual way and have multiple
layers of mix which is essentially what I did in that more advanced one.
But you can go ahead and build that up yourself for the moment.
Let's go ahead and mix these two together.
So.
Good to add we shift in a and I'm going to type in mix in this case.
We're not mixing shaders we're mixing are.
If you go ahead and pop that in.
And then we've got colour one attach colour to.
And then we can go in and apply a base colour.
Now at the moment as we slide the factor backwards and forwards you can see we can go from our red to
our orange.
Pretty neat.
Hey there we go.
Job done.
Well unfortunately things don't rust like that do very rust in a more random pattern so we're going
to have to have something there that's controlling that control in this colour.
But based upon it changing kind of randomly rather than just the whole thing at once.
So I'm going to change this factor.
And for that we're going to use a texture now I'm going to make this RG be just a little smaller for
the moment.
Now we're going to control this factor we need to control it with something.
What shall we use to control it with.
Well let's go ahead and add in a texture.
So we're going to go down to texture and there are lots of different textures you can use.
But after playing with it for a bit it's even noise or former Roy is going to be quite good.
I'm going to use noise initially.
Now I am going to have a quick look at my settings that I had before so we can speed things along as
it were.
But in this case I found a scale of 10 that works really well and I'm going to plug for the factor not
the colour but the factor itself into the factor up here.
What we should end up with and we do now run out of zoom over on this window on the right hand side
so I'm going to go to the view and view selected.
If you've got a number pad and you run out of zoom by are using your scroll wheel and doesn't seem to
be doing anything.
No pad.
Full stop.
There you go.
There in we zoom in here we can see that we've got blotchy patches here.
That's pretty good.
That's a good start.
However what I feel is kind of happening here is we're not really getting.
A great deal of one or the other.
And eventually we do want it to migrate over to being completely rusty and we can't do that by just
plugging it in like this.
So we're going to need something in between.
This is entirely up to you how you do this.
I'm going to use a colour ramp.
Now I've also got because I've got no Wrangler turned on.
I've also got the ability to hold down control and shift and click on any of these nodes to see what
it looks like at any point.
Now the first control shift then left click is going to select the top outputs.
In this case the colour and then if I click again it alternate to the factor.
And because it's the factor that we use here we can see on our model now how it's being applied now
because there's no true white or there might be on there or there may even be a true black on there.
But because it's not completely polarized to black and white we don't actually have ourselves any means
of seeing the full rust colour or the full paint colour.
So what we can do here is go ahead and add in a colour ramp.
That's one way of which we can control this.
We can also control it with a with brightness and contrast node that would also work.
But in this case I'm going to use a colour a can have a little bit more control over it and I'm going
to go shift in a kind of a search for my colour ramp and there it is colour ramp.
So go ahead and you can see if you drop the node over it will connect in place.
Now what I can do is I can go to my mics again to see what it's looking like.
This is a raw version before it's all rendered up.
But I can adjust where the black point is essentially making everything painted or I can just wear the
white.
Point is essentially making everything rusty so that we can actually animate that if we want to.
So that would be one way of making it.
The rust the year or certainly start making sure we start with full paint and then work our way to being
rusty.
The other way.
So there's lots of options we can do in terms of animating that.
But let's get the basic things set up first.
So that is all of the basic material set up there and let's go ahead here.
Just bring that down a little bit more and bring this one up.
So we see we get a much bigger contrast between where rust spots are and where paint is going to be.
If I then go to my principal shader and shift control click VAT's we can see that we end up with well
we've not got anything affecting its roughness yet so it's still shiny where it's orange.
How can we do that well because the paint is linked to this colour ramp.
Let's try and use that so let's come out from the colour here and plug that into the roughness.
Now hopefully what this will now do is where it is shiny but it's still got paint on it will be shiny
and where it is not i.e. this orange.
It will be quite rough and I think we can see that if I turn that off by moving it out and let's find
somewhere that is in fact shiny on oh there we go over here on the end we can see that it is shiny and
it this highlights if I angle this right should go across both.
There we go.
We got it on the orange.
That's exactly what I want to demonstrate this.
Now if I go ahead and plug in the colour into the roughness we should find.
There we go.
It is shiny where it's red and where it was orange.
It's no longer shiny so rough in those places.
Excellent.
So we can see how we can start to build up quite a dynamic texture.
By doing it this way a quite dynamic surfaces where this is completely procedural.
At the moment we're not using a fixed texture to generate any of this.
So there we go.
Now controlled both where it's rough and where it's smooth and where the colour changes as well.
Fortunately they're over the same things.
The next thing we need to do is test out how we want this to look when it starts to get really rusty
and the other thing I want to do as well was then here is start to control how these noise textures
are placed now because we got the node Wrangler add on turned on.
What I can do at this point is select that and go control in T and that will add in a mapping and a
texture call warden node.
It may even add in an image as well which we can delete so control and say Here we go.
It's added in a mapping and a texture coordinate.
The reason why I've added these in is to give us a bit more control over our model and its textures
and also be explicit about how we want this texture this noise texture applied to that model because
we could go about and apply it in such certainly in different ways.
Now we're doing generated coordinates here so blender is handling all of that for us and that's probably
a good thing with the way that we've constructed our Rusty pipe.
It doesn't really have any mesh data at the moment.
It's purely generated from those individual edges.
We drew at the very beginning Okay.
So we've got that coming through.
Now one of the things I do want to change is the scale on here.
This gives us an extra layer of tweaking I quite like how it looks.
But what happens if we say set this to 10 10 and 10 how we get a much more bity a rusty pattern so we
can go back and we can change it on one particular direction if we want.
But in general I'd recommend matching these up.
So I'm trying to pick something that looks in between it being totally Rusty.
However the where it actually starts flaking off and we can add in other control points as well.
If we want to.
So we have here something that looks pretty good so far.
In terms of everything that we've got but now we need to control how this is going about its hole or
disintegration and it's actually displacement.
There are a couple of things that we can do first and that's just to make sure that the experimental
features that we've turned on are actually going to work now in order to do that we're going to have
to turn them on.
Now that is under the material properties itself and click on material unger's Scroll down a little
so as we come down here there's an option for displacement.
That's fine we believe as it is under the settings.
If you scroll down a little further we've got an option of displacement at the moment just as bump.
We don't want bump.
We want both.
We can do true but both really accentuates it so we're going to use both.
Now you won't notice anything change at the moment because nothing is plugged into the displacement
material output.
I'm going to lower this down ever so slightly and I'm going to plug in our colour ramp that we had earlier
so let's go ahead and plug in that colour ramp into the displacement.
Now all that's actually updated.
Occasionally it won't.
Do we go ahead and go shift Z.
And then shift Z again.
There we go.
You will have to do that occasionally.
It's worked first time this time and really impressed with that.
But occasionally you'll make a change and it won't be reflected over in the viewport and TV turned rendering
off and back on again.
Now to keep this rendering nice and quick.
I'm going to go to my render settings scroll down and go to sampling.
Now I'm not I don't really care and it of it looking that pretty somewhere turned the preview down to
maybe 5.
I'm not going to leave it at one.
It would be ridiculous.
But if it's five I know it's going to get to a decent place quite quickly and we can see there that
that that's pretty cool.
But it's a bit on the strong side so we're going to have to add in probably another colour ramp or something
else just to control how that's behaving.
We certainly don't want it looking quite like that towards the end.
We need to control that displacement insane in in some form or another.
And on top of that the displacement itself is not going to be totally smooth it's going to have a bit
more of a bump to it as it starts sort of bubbling away and we can add that in in a few moments as well.
If I'm going to start by building that up as we go so we've got a noise texture here I'm going to grab
that and duplicate it and I'm going to grab our colour ramp and also duplicate that.
Now we need to control how this is looking at but I want something else there as well.
I need to mix two things together.
So when I go ahead and add in a mix RG be note and plump that in the middle and that means I can start
adding in something else.
Now I need something after that to control how it comes across.
So then I can spread this out a little further and make it a little less bumpy in this case.
Now I'm going to go control shift and click on this to see what it looks like and I was going to go
shift Z in the viewport and out again.
So not really changed how that looks.
For the moment if I bring that down so it's not fully affected and come back again.
There we go this time it's much smoother and where it's rusty it's gone in.
By the looks of it let's go back to my final material output and to see how that's looking.
Okay that's the wrong way round.
Okay so we've got it rust still on the surface and then inside it's red.
So there are a couple of things that we could do here.
We can switch round these two colours at the top but since that's all set up and that could be quite
a complex material set up we're now dealing with how it's displacing we can come down to the colour
ramp and just switch those around.
We're going to flip the colour ramp so now where it's rusty envelops.
Starting to look better already now where it's Rusty is where it's going to be going in rather than
the other way round.
And we can see here after turning that on and off again that's working.
However you can see where it is Rusty in places.
It is quite deep still sahaba I need to bring this black value up slightly.
Come back shift Z shift Z and see how it's looking.
This is something you're going to have to go backwards and forwards with so that look that looks good
in terms of where the drop off is with V.
Well with the red and orange border by I think I need to elongate this now so we've got a bit more of
a gradient between the two is too sharp.
Yes that's starting to look pretty good now.
In this particular case I think we need to do a few other things.
I'm going to add in some extra noise we got some noise down here.
I'm going to use the factor into colour to a shift click just to see what it looks like and I'm going
to turn this off and on again.
Now were talking about the factor signee Togo controls shift and click once more.
Once we've done that I can go ahead and adjust the scale now.
In this case I want a really bumpy surface is going to be really high on the scale even though maybe
even more than that.
There's got 220 has done to look good detail.
Interesting how do we do the detail in this case.
Let's go to the mics and see what that's looking like when it's mixed together.
Interest.
Of course we've got a factor here.
So what we want to control that factor is where is rusty and where isn't rusty so we want this to also
be controlled.
Fancy that by the same thing that's controlling how the paint where it is and isn't rusty so we can
use the colour out of here's also the factor.
So where it is Rusty is and you can see this here where is Rusty it's whiter and wear or white or close
to white and where it's not rusty it's still black and if we go and render that.
We can see we've got there a much better surface.
So it's not going to have any of our new noise texture unless it goes all the way down.
Now that's still a bit strong there we need to start bringing those two things together and I don't
think the colour ramp is actually going to be suitable for doing this.
Let's just bring the black point up slightly and re render.
Yes I think at this point we can see here this is what's going on I need this almost grey in places.
Let's see what it's doing now because this is effectively control and the displacement of the displacements
quite strong at the moment.
So I may need to add in yet another colour just to weaken that out.
Let's rerun that and see what happens.
Ah that looks a bit better.
That squash this up even more it needs to be really subtle at this point.
And let's come back and you can see there's a lot of iteration that you can go through.
Tennis starting to look there.
Let's bring this back down ever so slightly and re render and start getting used to doing this coming
in shift said shift said okay that's looking fine for the moment.
Now at this point in time as you're bringing in all of this together I would also save my work and look
at doing a full render what were seeing in the viewport at the moment is a rough approximation of a
render.
So in order to do I know change my view to the camera.
So a view will get the menu right in the moment view camera nump had zero if you've got a number pad
and that's what it looks like from the camera view.
I'm going to move the camera now by going shift and F to go into first person mode and just move this
closer.
Now you may find it's easier to do this when you're not in rendered mode.
I'm I'm almost happy with that.
I'm going to shift it down a little now use W H S and D to move around Q and E to go up and down and
there we go.
I'm happy with that lay out and I'm going to press F twelth to do a rendering.
I'm also I also got the opportunity to save it as well.
Now at this point in time you will see that with everything we've got going it may take a while to render
around.
Now these cells themselves that are rendering look too small for me for GP rendering and one to let
it render out at the moment but I'm also going to in my render properties come down go to my performance
area and change it yes these tiles are pretty much set up at 64 by 64 which is not really good for anything.
It's kind of a halfway house if you're rendering with your s.p. you you want those quite low maybe eight
and eight or 16 then 16 depending on the sea Pip and the fur rendering on a GP you probably want a higher
value like two five six.
Now I'm not going to worry about the actual rendering here but let's just have a look at how it's coming
along we can zoom in and I quite like how that's looking at the moment.
Now we probably do want it to go totally rusty at some point but that's not a big issue for the moment.
We can always tweak these things later on when it comes to animating.
Okay so the next thing to do is actually talking about the displacement itself.
Now this is where we don't use the nodes Unfortunately there's no direct link between the two.
But if we go back in to while I am going to go into the nerida again but this time I'm going to open
up the 3D viewport as my main area and then we can focus on working there.
K so we've got our 3D view port open and this time we're going to have to change how this thing is looking.
But this time using a displacement modifier.
So to go ahead and add in another modifying and to call it displacement.
And again this is a modify this is deforming our mesh screen he defined it here it is displace.
So this is going to add an extra level of bloatedness.
But the looks of things that's pretty cool.
And the reason why it's doing this is it's it that it's all in the wrong order with displacing it.
After we've done everything else now we think logically the modifiers themselves do apply themselves
in order so we start with the mirror modifier.
And let me just hide the node editor and bring this across so we start with the mirror modify which
is fine.
Then we skin everything that we mirrored and then we want displace before we do the subsurface modifier.
So let's bring that up now.
It still will be a bit bloated for the moment because we're not controlling the displacement with anything.
So if we open this up we really want some think to control the displacement rather than just doing what
it wants to do.
So in this case I'm going to go to my text settings and just click on the which add in the texture.
Well hey that's gone all funny.
What we can now do is nain that texture where or something along those lines as in it's wearing away
and then go to the textured tab so long the properties panel.
If we go to the texture properties we will see that it says noise texture which is all very well but
that's not the one we want.
We click on where it says noise texture we need to find the one that's under the modifiers is not at
justing a material texture.
We're not adjusting a brush texture we're adjusting the modifier texture.
Here we go.
So currently there's not anything applied to this.
It's just got a black image applied to it.
I'm going to scroll down and where it is the type of texture image or movie I'm going to change that
to an actual generated texture and I'm going to use noise in this case naver starting to look a bit
funky.
And we can start playing around with the settings in here to make it look just that little bit better.
So in my case I'm going to go and reach for the settings that I had previously when it came to my displacement
and I'm having a look at what I got set there before.
Oh no before I did not choose noise I chose wood.
And obviously this is through a lot of iterations and playing around.
I chose wood as my example that looks like it's melted into a blob.
This is fantastic.
And this is what I mean at the very beginning when I was saying about playing with stuff.
I did not realize quite how well some of this would turn out until I.
Well I went to would obviously I would not have thought about that before.
And looking at my settings down here I've left this top area as fine I've come down and I've changed
this to a saw pattern.
So it's more yes and no.
Rather than nice and smooth changes which I think's much better if we have a look here we get a straight
transition between the black and the whites which is fine that Gibbs.
In this case a very sharp cut off between the two.
I changed it to band noise if we have a scroll back up we can see that it's a little bit more we believe
wobbly at this point and there are a few other things that I've gone through and I've changed so if
we scroll back down again the final things that I have changed here is the type of noise I've switched
from soft to hard which gives it a much harder edge between the two.
Now as you can see here this doesn't look like anything like what we would want it to look at the moment.
This is just a starting place what we now need to do is go back to our displacement modify and make
sure we've got the right level of displacement applied.
And what I have done as we've gone through is this strength about you ought to set it to zero and see
what it looks like.
There you go it looks like that and as we increase this to one it's going to morph into this.
Is that what we want.
Probably not.
It looks like we're going to have to play around a little more now the texture coordinates.
I'm going to use the object itself.
That means that the object determines how is that almost the same as using generated previously.
So the object is going to determine how this texture is applied to itself.
So once again um goods come in and go in and out.
No change there that's changed the middle level up to one.
There we go.
That's the sort of rusting away effect that I'd probably want to go for here.
And now let's change the strength back to zero.
So it's nothing and then we can do a step up.
Now we don't need to see these deep find a detailed rust here some bigger shift Z and just have a look
at the underlying mesh and how it's distorting so we can see it's wasting away here.
And by the time we get to a point six you can see it's actually pushing it through itself so we don't
need to go that far.
In this case we're going to use the strength and probably end up going to maybe this level here point
five.
Let's think about now animating that so we've got a start and an end point for a lot of our of our items
here this is going to be the end point.
This is going to be the start point.
We might as well have a mate between those two points.
Now I'm going to do this simply on the time line and of course all of this can be refined and refined
and refined.
In fact the one you saw at the very beginning did take several hours of tweaking.
Admittedly I was having a lot of fun at the time and it takes several hours tweaking to really get it
exactly how I wanted it to.
And of course trying to recreate that.
Well it will just be a different rusty pipe this time.
So let's pick our.
I've got two timelines here now that's good going.
So let's pick our start point.
In this case frame 1 and I'm going to key in the strength for the zero and I'm going to just hover over
strength and press the key that is now keyed in.
This is the great thing you can annamay anything in blender.
And then finally we need to decide how many frames this is going to last over I'm going to go to a hundred
and twenty in total so I'm going to go to frame 120 and then key in the final frame.
The strength here is going to be at one note.
No what did we say.
Point five is key in point five and press the Iki and now what we can see is as we start and play through
we can see it's wasting away.
How cool is that.
And now we can do the same thing.
But in the Knode Ed. Now this is where I'm going to have to be careful and have the beginning and end
in mind.
So the beginning I don't want it looking rusty in the beginning at all.
So we need to find the right node settings that it looks like it clean.
Well just read essentially something go to my node editor.
And at this point I think the only thing that's controlling this is the factor between these two.
So in this case we need to decide how we're branching out these two here how we're changing between
these two cultures.
So going to be changing something here and there are several ways we can go ahead and do this we could
we could animate the position of these items here so we could push.
I think it's the black all the way through.
How does this need to look.
Oh that's oh I like that.
So yes we can move these things about.
So at the moment it looks like we need 100 percent black in order for it to work as we would expect
it to.
And that's come out and back in again.
And we still got a little bit displacement coming in here that we don't want So we need to think about
think about more than one thing at this point in time.
So when you think about this one and this one down here so let's make sure that there is no defamation
at all and it's totally smooth.
It looks totally smooth but it looks like we've got these in the wrong way.
Looks like I need it to be 100 percent black in this case.
Almost there let's just say for arguments sake and there we go we've got that so I'm going to set that
position of a key that in.
Whilst I'm on frame one make sure you are in frame when we decide to keep things.
So I've keyed in the position of both of those elements now as this changes as it gets rusty towards
the end.
And looks horrible like this.
What we can then do is say well we also want it looking really rusty.
So we've moved two things here we've moved the position of zero and the position of one now it is important
that you keep in the starting position of both of the things you're about to change.
So we've keyed in the position of number one this black marker but we've not keyed in the position of
zero.
So let's make sure we keep that in as well.
Now we can go ahead to the end of our animation's say well by the end of the animation it's going to
be completely rusty so both of these will have moved across.
And of course this is controlling more than just.
The colour is changing how rough things are and it's feeding in to how the actual material itself is
getting rusty and it's defamation.
So there we go we've shifted that across women a key that in so I think both one and two are keyed in.
There we go.
One two is zero and one in this case.
The next thing we need to do is think about this next colour ramp down here so we have it starting position
of number zero.
Let's go to one and key that in.
Let's go to the end and then we think about how we want that to look.
So if we go ahead and all that say shift this down to there.
What do we have.
It looks pretty rusty.
Let's shift all having issues clicking it all.
I think that's the key.
Pretty good.
Let's just go shift and Z over in the 3D viewport.
There we go.
See how that change.
That's why it's important to come over and shift click.
A new shift in Z to get it working so we need it more this way.
That's quite bumpy.
In fact we could we could probably leave it like that but let's just see if we can get it looking that
little bit better.
It looks quite spiky at the moment.
Now this is a great way of just testing us.
I'm going to go and save my work first.
Now I'm going to render it out again.
I wouldn't recommend over being a bit overzealous when it comes to rendering.
But what we do need to make sure is anything that we think is going to happen actually happens when
we go ahead and render.
So something is not happening here.
Why is this still totally smooth yet in the viewport.
It looks or bumpy like this are problem.
To be honest I don't know.
I've probably missed something as we've gone along so we've got a displacement of both over the material
settings of that that feels fine there.
It could be the fact that we've not keyed that in yet.
So let's go in and go to the node editor and key in that position.
That is a bit extreme and they both at one they do look like they're both one.
Let's just keep that in because I think that probably is what's going on there.
And it's just round of that out again we can see is much quicker to render in with.
We see that's much quicker to render when we've got the GP rendering.
Okay.
So you've got material here if we got the right material I think we have.
Yes.
And the displacement isn't rendering.
So in the render settings do we have experimental rendering turned on.
We have excellent.
Now I'm going to change this to see you for a moment just to see if there's an issue with how it's set
up.
I do love problem solving on a live video.
It's always great.
Let's just see what happens at this point.
Now notice it's also changed over here as well in the viewport.
So just come back and re-enable GP you there is something funny going on and we will get to the bottom
of it.
So has decided to render smoothly again.
Let's go to our node editor and see what's going on here.
So we've got everything set up here.
We've got well let's see what it looks like.
When we just look at this colour ramp here.
Let's make sure we are in rended mode.
So this colour appears all black and white which basically means no displacement.
That's not what we want of this black.
Value has been brought up far too far.
Let's come back in and go through.
That looks much better so we just moved that black value far too far.
They're made sure on the end and key that in.
And the annoying thing there was the viewport wasn't actually updating and showing us what the actual
issue was.
And that in itself is painful.
It really is.
So now hopefully when we go ahead and render what we should see we're still rendering with the s.p.
who didn't want that to happen.
Now when we go ahead and render all being well we should end up with it being bumpy which it is.
That's great.
And now we need to go back to our node Ed and just make sure everything is back in place.
So I'm going to shift.
Control shifts select my principal shader that looks fine there.
Excellent.
Finally we just need the test the beginning and end.
And make sure they're working fine.
So I'm going to save my work.
I'm going to go and open up the UV image editor and I'm going to make sure that we're on slots one on
the head a bar for the U.S. image editor.
Make sure your in slot one and go ahead to the beginning of your scene and press F 12 to render it or
even go to the menu here render image.
This will give us some idea of what it looks like at the very beginning.
Excellent so we've got how it's going to look at the beginning and that's lovely and shiny.
Now the reason why we're doing it like this is simply because rendering an animation is going to take
a long time to do.
So I'm going to go to frain 60 here and I'll go to slot two and then I'm going to go render my image
and this will give me an idea of what it's going to look like half way through.
Now hopefully I have it does look a bit odd It looks a bit spiky So there may be more refinements though
and but I'm happy with how it's turning out so far.
Just as an experimentation if nothing else and again you can iterate this and go No no I don't want
it to act like that.
I wanted to act like this.
So here we go it's starting to deform.
They might want to leave the defamations till after it's gone completely rusty That's what I did in
my original psyche in all of the defamation.
How it was changing how that texture.
The strength in the displacement modifier when we're animating this I did not change that until after
it started going completely rusty.
I might do that in a moment on this one as well.
Finally I'm going to go to my final frame go to slot three and just render that out as well.
And a good thing about doing this is you've got a good idea of it start middle and end position.
Now you may in fact want to just use a different texture when it comes to showing blender how you want
it to deform.
Now this is a totally different look as before it looks like something is growing on it.
Tempted to change that to go green as if it's some sort of alien fungus or just fungus.
Who knows.
Anyway so that looks pretty good.
That looks like a good starting and end position.
Now one of the things that I would really recommend when you're working with this type of project where
you know that rendering is going to take at least 30 seconds of frain 120 frames you know that's a long
time to wait.
Well that's going to be there's going to be an hour isn't it.
So I want to wait for an hour but I do want to have an idea of how this is going to animate through.
Now I can switch between slot 1 slot 2 and slot three go.
Okay that looks pretty cool.
But how does it look when it's animated.
So the final thing here is about outputting.
Now there are seven schools several schools of thought when it comes to animating output in general
as I'm just producing something really quick to have a look at.
I will go to my render propertys and scroll down and my output folder I'm going to set that is something
I can actually reach like the desk top and then I'm going to change the height file type to it.
F F MPEG video going down to the encoding I'm going to set it so it's presets here I'm going to use
eight to 6 4 in MP 4.
She's absolutely fine.
Leave everything else as default because this is just a test run.
I don't really care if it's blocky or not as perfect as it could be or even in this case if it's going
to crash midway through the render because I can always click and render again.
However what I will do at this point is just have a look at the resolution I want.
A rough idea of how this is going to look not a detailed look a detailed look I've done with these renders
if I'm happy with this bit if I'm happy with the others then I'm happy and good to go but what I don't
want is to wait.
Even so I'm going to knock this down to 25 percent of 10 8.
Now this is going to look really ropey in terms of a quality perspective but it's good to be quicker
to render.
So I'm going to go ahead now.
I'm going to save my work before I go ahead and render what I need to do is render my animation.
Now to make things just a little bit more interesting and do what I said earlier and am going to clear
my key frames for the the actual displacement are going to start at frain 60 where it starts displacing
and then go all the way to point five so it changes.
A bit more naturally because that there shouldn't be deforming till it's quite rusty and I'm going to
make sure I key in a strength of 0.
At that point.
And then we've also got strength of zero here so it's going to stay at zero until it comes out.
That's easier than removing all the key frames and re adding them afterwards and it may show once again
save my work.
Now I'm not going to render it on this computer.
It's going to take an E on I'm going to go renderer on my desktop which has a bit of a faster GP in
it.
And I'll be back in a few minutes.
And here we go.
I've slowed this down so we can really explore what's happening.
It's not particularly high res but we've got a glossy start and then we can see it slowly rusts away
now.
We put in that key halfway through so it didn't start deforming until then and we could see it's just
rusting away and bubbling and actually in many ways.
I like this one because had a bit more thought to it.
Then our original one.
And of course here it is now at full speed.
Boom done and there we go.
Thank you for staying with me throughout this tour.
I really hope you've learned lots now.
Fortunately we can't always cover everything that we want to cover in a tutorial like this.
This is essentially glossing over our material set up our modelling and everything else.
If you do want to learn much more about Splenda Please do join me over on my udemy Course where you
can learn far far more than what I can possibly put in a short tutorial like this.
Take care and I will see you over there.