Welcome to the introduction to the node editor in this video.
You will open up the node editor create some basic materials.
Apply these materials to our model and see how adjustments in the node editor affect our model.
So let's hop straight on over into a blender.
Right over in glendive there's a couple of things we'll need to do.
First of all I'm going to turn my back drop back on.
I'm going to turn out the camera doesn't matter at this point in time.
The cone.
Well that was a positional cone and now makes no sense to have anymore.
I'm going to delete.
That's from our scene.
Looking down the list here I've got the lamp that was there and the plane a want to turn both of those
on so our light sources are in the ceiling because the node Ed is all to do with cycles render.
So and further down here I think that's all we need to turn on.
Don't need to see the rig for this next bet.
Now we need to add the node editor.
So I'm going to go to the splitter widget on the 3d Ed header and just pull that down.
And probably about 50/50 for me with my resolution here.
Okay.
And I'm going to change this bottom one to node editor which is just here so we're changing the window
type to the node editor.
And it just looks like this space here at the moment.
Great.
I'm also going to just pan up here.
I'm going to start focussing on the base of our lamp to speed up render times.
I'm going to use control and B and just draw a box around our the bottom of the lamp basically so we
can see what's going on.
In fact I'm going to zoom in a little more so that's filling up the screen.
Then I'm just going to draw another border that's just slightly bigger than when I switch on cycles
render at the top here which it is and go to rendered view.
It will only render this area here and I can see that there's light coming in from our plane and everything
else great.
So I'm actually going to create our new material straight away over in the materials tab over here.
So I'm going to create a new material and you can see two things straightaway appeared in the node editor.
And for now I'm just going to push this away to one side so we can see what's going on in the screen
in front of us.
I'm going to zoom in here because I can't read that at the moment so you definitely can't.
And we've got two items in front of us.
These are nodes now nodes cans consist of different types.
If we go down to add on the header we can see there are lots of different types of nodes that we can
have for the moment we're going to be dealing with shaders which is what a diffuse node is.
And the material output that's what we'll actually see and we're connected here with two lines so we
got the output here going all the way to the surface material here.
If I click and drag that our way from there it literally disappears.
But because it's the same as the default material at the moment it looks no different if I was to change
this colour here to something else.
There you go.
I'm going to make it bright red.
Try make it bright red.
I can see a great cast in our scene.
And I've I think we've coloured in something else yes we have.
So let's select our base first.
I didn't select the base.
Silly me and I'm literally going to select from the materials here material and I'm going to name that
material whilst I'm here.
Red Lamp paint you can choose a different colour if you like I just like the colour red.
In this instance.
Okay so we've got a red lamp and if I pull the surface connector out it goes black it's got no material
assigned to it.
So let's connect those back up again.
Now unlike.
Blend a render way you can add the two things together over in the side you can't do that with this
materials property on the right hand side.
Some just going to make that disappear.
Now what we need to do here and I'm just going to squish it up a bit further to give myself a bit more
space and I'm going to zoom out here hopefully you can still read what's going on.
I need to add another shade up.
So like anything else in blender you can either go down to the admen you hear I'm going to use the shortcut
key shift and a.
So shift and a will bring up the ADD menu.
Now I'm going to be looking for the shade.
There is a mix shader which is at the top but there's a very quick way if you know what you're looking
for in this case a mic shader I'm going to type in honour of click on search and type in Mc shater.
Looks like that was the last one I was indeed looking for.
And that will add a mix schade a node in.
Now if you hover a node over the top of a connector it will automatically join them together for us.
So that's that done there.
So we've now got a 50 percent that's got this factor here means of diffuse shader.
So it looks all mapped going to our material output which is what we see on the screen.
Now I want to give it a bit of secularity a bit of reflection.
So in order to do that I need to add what's called a glossy shader So I'm going to go down to shaders
and just have a quick look down here and there we go glossy.
If I add that I'm going to place it next to here you can place these wherever you like.
But for organizational purposes I like to keep these things together and the outputs here I'm going
to plug into this second shader area and you can see we're starting to get in.
Interesting.
Render at the top.
Right.
So let's play about with these a little more.
I don't like what's come out there so I'm going to move this to the left or the right and see if we
can get what I think is a better mix.
This will be around a 20 percent mix that does look a lot better.
Now with the glossy shader there is a series of selections you can go for.
The only one that really makes a difference that I can see is sharp in our particular model.
It just produces a sharp reflection full stop.
If I pick any of the others they all look relatively similar.
Now whilst this is rendering a way at the top here is only 10 samples.
So what I'm going to quickly do is pull this out on the side.
I'm going to go to the render properties and scroll down to where we have the sampling and I'm going
to turn the number of samples up in our preview too.
I'm going to do a hundred.
You don't have to go that high.
And so it will get better and better as I wait.
Every time I change something you will have to start zero again.
But that's not a big deal for me at the moment because we're only rendering a small area in fact something
to make the render area just slightly smaller again.
X.
So I'm still not a great fan of what's going on here.
This rough from the slide.
Well that is very useful when it comes to the glossier.
We turn it all the way up to 100 percent.
It just looks like Matt.
It just looks matter again.
If we lower it all the way down to nothing it goes super glossy as if we had just selected sharp here
on the distribution.
However after playing with oh look at that.
If we zoom in a little here we can actually see it's reflecting the rest of the lamp up the top.
That's brilliant.
So I want to keep some of that reflection in our model.
So I'm going to play with this roughan set.
I'm going to start with point so and see if that is high enough.
Let's zoom in a little.
No I want something a bit lower.
I'm going to try point one.
And a lot of this is about experimentation.
I can see the reflection is there.
It's not really well defined but it is there and that's what I want.
So this is going to pull out a little here.
Okay that's starting to look really good.
Unlike in the output here this factor here again if I moved all the way to one side you just see the
shiny parts of it and it looks like we've got some weird artefacts going around the base here so be
worthwhile trying to clean that up in a few moments and we can bring in the rest of our culture which
is are diffuse over here into a scene.
In fact I quite like the setting I've managed to get there which is about 30 percent coming through
that's glossy right.
Let's see if we can quickly and bring up the.
Head a bar over here.
And just to see whether we can go in and edit this and puts another loop cut in just around here.
And I'm going to bring it out ever so slightly to give it more of a base and see how that affects our
renderer itself.
To see if that makes a difference that gives a much more defined edge and doesn't look so nasty anymore.
So you can see by applying the render soon on in the model of we've actually gone through and rendered
this a little bit earlier would have been able to correct that geometry as we were going.
That's brilliant.
I think it's Challenge time.
I would like you to add material to the rest of the scene.
Play with the materials in the node editor.
Have fun with it create at least two different materials by using the node editor.
Remember you have a material on the back drop to see you can add a different type of material to that
and make sure you assign your new materials to the rest of the lab so that nothing is left with the
default material pulls the video now and give that a go.
Okay guys.
Welcome back.
Let's hop straight over into blender.
Right.
So back over in bland.
I'm just going to pull this down a little so I can see what's going on.
Let's have a look at what we've got so far.
So there are a couple of other bits of our model to apply materials to.
I think I'm going to keep my ball joints just a separate colour for the moment.
And this one down the bottom here.
I've gone behind my scene by the looks of things.
So this stem I think we've called it so let's have a look at the stem now and I'm going to call this
metal again.
I'm just going to play with how this turns out.
Let's pull that up.
Let's pull that up there.
And this is actually rendering quite a large area.
So I'm going to.
Draw a new area around here so you can just watch it and about.
I'm going to add a nother one and it's going to be shader loss.
Only worked with those at the moment.
I also want to add a mix shader which is oh I've run out of screen space there for that.
I would go over top of that the whole add it in.
And I'm going to add another one.
Okay so metals a little shinier than paint in general and it tends to be kind of greying calories.
So some are going to make it a dark grey and I'm going to go more towards that dark grey Oh no increase
or decrease the amount of roughness.
Not completely about there.
How are we getting on there.
That's.
Zoom in a little and see how that's looking.
We'll keep going behind the scene.
Okay.
That's looking pretty good.
Let's see what it looks like with the.
All the way with that all the way up now.
Let's just raise a little bit more.
Okay.
The rest of this these arms um can actually give those leclair my.
Selection for the moments we get.
I'm going to give these arms the same material so I can go to the material properties here and do red
lamp paint and I'm going to do the same for the lower arms.
There we go.
So it just leaves this ball joint here and I think I can neaten that up later on I'm not going to do
it at the moment.
I'm going to add in the metal one there.
Okay so now I've got those.
In fact the metal one I am going to make it highly reflective so I'm literally going to set it to sharp.
So it just reflects everything that's rounded.
Okay so that's the basic lamped done I'm going to have the back drop.
So let's have a bit of fun with the backdrop.
I'm going to add a new material and I'm going to call it back drop.
Very important to name your material so you know what's going on.
The back drop.
Now I've got loads and loads of choices.
I mean that could essentially change this to use the delete that hit X and delete it because now it's
got no material so it disappears.
I'm going to add a shader.
That's just glossy.
Let's see what happens if we do this.
I'm just having fun.
It might go horribly wrong.
So with the roughnesses 20 we actually get a reflection going on.
Obviously if we turn all the way down we end up with a very very shiny mirror and Oh how does that look
has got to be another reflection going on some points over here.
Or maybe not.
No.
No other reflection going on there.
Wow.
Okay so let's just CERN up the roughness ever so slightly.
I might leave it like that.
I don't know if it's a bit too shiny.
But I will give it a different colour.
No still no blue does go well with it.
Red But no.
How about an orange.
A deep orange.
Oh that's quite nice.
Quite a warm scene now although the problem with just having it reflective like that is it does look
more like the lamps floating than anything else.
So I will add in another diffuse shade.
And a mix shade just some research from MCs showed up.
Add that in.
This one in here.
I'm not going across.
Not going to devour across them back over and I'm going to set the colour down here as again a deep
deep colour there and slowly just turn it a bit up Pierce a bit more shiny.
Excellent.
Still looks a bit like it's floating though.
That might just be me.
Not in the right position or waiting for it to render out.
Actually no it looks absolutely fine.
Okay that's great.
I'd love to see what you guys have come up with your rendering of your lamp and shortly we'll be making
this one move.
Until then I will see you in the next lecture.