Welcome to the label wait node.
So what does the lay awake neighbourhood do.
Well it's usually used for controlling the weighting of its shaders via the mix shader noted.
Now is not to be said that it can't be used for other things as well if you want to get creative but
that is its typical use.
And here we have just a simple no structure set up here we've got to shaders going into a make shader
and out to the material outputs and we've got the laser weight no sat there and we have two outputs
from the layer wait for now not Fresnel But for now and facing and we'll just explain those two outputs
and those would plug into the factor in order to control it.
So what does it do then.
Well the friend Nell output has a very sharp fall off and we'll see that in action in a few moments.
The facing output blends from one shade to the other in a more linear fashion.
Both do depend on the angle of incidence of the surface in relation to either the viewer or the camera.
When you're doing a rendering So let's go explore the layer weights now and hop on over in a blender.
Okay so we're over in blender here and the first thing I'm going to do since we're going to be using
three different set ups is create three objects to apply to.
So I got one kubal ready I'm going to duplicate that cube.
And I actually want snapping turned on with increments so I can literally just move it along the y axis
very easily.
When you duplicate that cube again and move it this side.
Finally I want to see what it looks like over a smooth surface as well so I'm going to add in a sphere.
So mash or just off I want to uv's Sphere.
Oh miss that they're so uv's Sphere.
There we go.
And I'm going to move that one back slightly and turn on smooth shading and then duplicated a couple
of times as well.
Okay so I've now got six objects and they're going to be ampere's with a mic shader a waiting for an
L and a waiting with facing.
Okay so let's go ahead and start setting that up sampling to switch this view or duplicate it and switch
over to rendered mode so I can see what's going on with shift and Z and I can see that the light isn't
uniform and we don't want any lighting effects on them Go here to the lamp properties and switch it
to a sun.
I'm going to click on use node saw it can increase its intensity too or maybe even three.
There we go.
Nice and bright.
Okay.
So we've got our six objects here.
And when I switched this top one over to a node editor and zooming.
So even I can't read that.
And we can see here we've got a mission.
We're on the lamps so let's click on one of the cubes and I'm going click use nodes here.
I could use the materials properties over here but I'm just going to click on use nodes and I'm going
to make one of these a pure green.
So that one there is pure green.
I'm going to duplicate that and make this next one a pure red.
Now in contrast to the last lecture where we were talking about absolute colours being a bit of a problem
in this case they're actually going to be a bit of a solution because they're going to enable us to
see what pure mixes end up doing.
For instance I would expect if I mix these two together with a 50/50 waiting it would be like having
red and green channels at 100 percent so we should end up with yellow looking just like this.
Let's see if that is what happened so let's turn all the red all the way back down the thread he says
not deciding which one.
So let's go ahead and add in a mix shade up and mix these two together.
And what do we get.
We get a yellow.
It's not quite as bright as the last one but it's a yellow which is what we were predicting.
So I'm going to minimize all dimming to get rid of the head a bar there.
I meant to pull this down a little longer to minimize these two shaders.
Now one thing to bear in mind when you minimize their licence small like this I'm going to move them
out of the way.
Now if you wanted to go back in and edit those at any one point if we expand this one here we can see
all.
It just covers up the one underneath it which is not so great.
So I'm going to keep the minimized any way and just bear that in mind if you do ever minimize them.
That if you maximize them again so you can see what's going on you may cover other ones up.
If you move them in they're minimized format to the funnel then we're going to do here is actually add
in a layer weight which is under the input menu layer weight.
And we're going to see that there.
Now when you're going to connect it at the moment because this material is just the mixing material
and I'm going to name it such so I know what's going on.
So that's mixing.
I'm now going to select the next Q belong which was the original cube and I'm going to make it unique
by clicking on the little three on the head of barnet's to mixing and I'm going to call this friend
Nell.
I want them a plug fat in as well to the factor.
And there we go.
Changed.
Now it looks more green than anything else but will mix be explore with that in a few moments time.
And this final one here we're going to make it unique.
Plug in the face seeing and call it facing as well.
So we know exactly what's going on.
So now we've named those we can see that it's had a different effect on all of these three cubes.
We're going to apply these materials now to these spheres as well so I'm going to click on the sphere.
Click on the materials here and change it to mixing.
This one here for a nail.
This one here I'm gonna set it to facing.
Now of course we could have done that all through the materials properties over here as well if we wanted
to see.
Okay so now we've got these three set up we can see hats.
It does look different depending on what's going on.
So let's start with the facing because that's the easiest one to understand.
If you're looking at it 90 degrees or as we call this zero if you're looking straight at the face you
get the bright green you get 100 percent green.
If you look at it from 90 degrees which is actually impossible.
If you look here from eighty nine point nine degrees and let's switch to orthographic projections huge
knots perspectives mucking around with us.
We can see the that's gone red.
You see that here in the spheres.
Most of all where the edge which is close to 90 degrees it falls off.
We get more of a red than the green.
And to put that in shader perspective if we look at the nodes themselves I think Green was the top one
and expand it to have a look yes.
So greens the top.
So when you're facing the surface you get the top shade and when you're at 90 degrees to the surface
you get almost the full bottom shade.
All the forborne shader of which are shooting facing now for a Nells not quite like fat let's make this
window bigger again.
Therefore a nail has a much sharper fall off and it doesn't go to 100 per cent either way so we can
see looking down directly around 90 degrees in fact just press a number pad 7 to do that we can see
there's a slight tonal difference in these greens and if we look at it from the side that side this
side we get a similar source of effect.
Now if I start rotating round ever so slightly You can also see that it's not it's not really red it's
more of an orange at that stage as well.
So there's never a 100 percent mix.
But the other thing that it does is now watch as I start to move around so that zoom in slightly so
we can see this in more detail as I start to move around you'll notice that it falls off very quickly.
So let's go back again.
So it's almost almost hundred percent red there but not quite.
And as we move around it falls off incredibly quickly.
There's lots of use for this like.
How specular resurface happens to be when you view it at a certain angle so this is a great thing to
know when it comes to water because water is just like Fats if you look at it from one angle you can
almost see straight through it all or if you look at it from 90 degrees you can almost not.
And of course we can play with this.
It doesn't have to be diffuse shaders it could be a gloss shader it could be an emission shader try
mixing an air mission with a glass shade that produces some really cool effects.
And now we've explored this layer wait now.
It's time for a challenge.
Okay I'd like you to go ahead and have some fun.
Try different shades setups using the layaway.
No.
To control them.
One of my personal favourites is the glass and emission combination and also diffuse and transparent
can give some lovely soft edges.
Now once you've finished having some fun with the lay away.
No.
What I'd like you to then do is go ahead and finally apply this to your head between the rest of the
nodes that come through all those MC shaders and the final gloss shader itself.
Pause a video now and give that a go.
Okay guys welcome back.
Let's go have some fun over in blender.
Okay Sahib.
Want to show you.
That's really quick.
My favourite combinations so I'm just going to hijack all the work I've done so far.
Here an add in to shaders.
I'm going to add in the emissions shader and I'm going to add in a glass shader as well.
Just make this a bit bigger so I can see what's going on.
Or grab the wrong area.
Never mind.
Okay so let's add in these just as their standard glass and emission and I've got them wrong way round.
Let's swap them back.
Excellent.
So this is what it looks like when it's plugged in with facing this is what it can look like with the
for an L.
Pretty awesome.
And of course with the emission you can change the colour so whites with glass is going to be see through
of course but the emission itself we can have a really cool blue we can back off on the blend itself
up the top here and have well a glowing or.
How cool is that.
All look we can look through at the other optics or some stuff.
OK.
So let's go and play with my head.
Literally my head in my case.
Okay.
And I don't think I've applied any of my no jets.
I'm going to have to go ahead and set those up.
Oh no I haven't.
Case let's go ahead and sort that out so I've got a few space there and that will be use at one point.
We're going to have a girl losh shader lost CBS to air.
There we go.
And I don't want to pluck them together like this.
Bring that out.
We're going to want a couple of serf's sub surface scatterings as well so we're going to have a couple
of layers of those silhouettes duplicates.
That's popping up they're going to have another one mixed together.
Then we're going to have another one and then we're going to have a glossy as well so we're going to
have one two mix mix mix mix.
So quite a few mix shaders here so let's add one and blend them together amphicar going to have all
mccommon ones on.
Stop a moment.
I'm struggling with screen space here so bear with me a few seconds when I saw that out.
Okay.
Let's get rid of that and move this across the wonders of working with a small screen.
Okay so we've got two subsurface scatterings.
They're going to be mixed.
Spot the mix at the top I think as we go each way.
Of course we could use the laser weight at various stages as well if we wanted to.
I am not going to do that however and duplicate them makes shader and duplicate the Make shayler and
duplicate the make shader.
That should give us a nice flow as we go through.
It is important when youre mixing things together that you do have a good idea of where they're coming
from and the flow with your notes as we can see here.
I've kept all the mic shaders on the top and all of these are mixing down as we go the glossy one we
want control the factor here with a layer weights node so let's go and do that.
Plug this into the outputs as well and input layer weights and pop that in as well.
Now which one of these I choose will depend on how it looks so ominous split this window now I've got
that roughly sorted out and I'm aware I need some colours don't I.
So will I need a deep dark red here but not 100 percent.
80s fine that's a bit of other colours to it and make it a little bit darker.
Let's make this one a little bit lighter.
I'm just going to pick some random colours.
This one even more.
Kate.
Perfect.
Now we've got these running through and I got a few sleigh of air as well.
That's absolutely fine for and might lighten that up as well because that's the real top of the skin
so that's not going to be very dark at all.
And again I'm not playing with these.
I'm just getting them roughly right and trying to get a perfect set up here.
I do need to adjust my radius so.
Not going to have 100 percent.
I'm going to have maybe 60 percent of the red coming through and the rest of it being absorbed.
So this is saying that most of the scattering will be the red lights.
The rest will be absorbed more readily.
And this is going to be similar but less so so this is what I would click on the right areas radius
here.
Some of them I have maybe 40 and 20 and 20 just using tap there to skip through them.
This last one is not going to be very much scattering ator as can be absorbed very quickly and point
1 and point 1.
Okay so that is coming through.
Absolutely fine to Vista there.
And let's hit the render button and see how this is looking.
So it's pretty glossy at the moment because it's a 50/50 gloss mix with the rest of it and I don't want
let's try for a nail to begin with.
Let's see how that looks.
Should now be glossy in only places that are facing is that right facing the camera.
Let's take the gloss out completely.
Kate's look Ashley that looks pretty good.
That was a good rough guess going around there.
Okay.
Glass only on mellops Try facing and of course we can change the factor as well.
Takes a couple of moments for these Sir runouts.
This is quite shiny.
Of course this glass will be mapped soon using basically a u v map with showing us where it's glossy
and where it's not raavan just having the whole thing glossy.
Okay.
And let's just try for an L again.
I've got a feeling that fanelle is going to be better for our application.
And I'm just going to knock this down to a point too so it's not so much of the gloss coming through.
I'm a little bit more actually.
Types in point two again.
Okay some going to have a look about through the camera and render that out so I can just see how it's
looking fully now for my render settings here because it's going to be a bit more detail I'm going to
up.
That's two hundred and of course here F 12 and let that render out.
Now because the resolutions are relatively low it's going to give us a rough idea of what's going on
now.
I like that that's a good good bit of sheen in places but not overpowering coming together really nicely.
How was yours getting on.
I hear you done a bit more modelling than I have done here.
So looks a bit more humanoid rather than mannequin at the moment.
We'll get there.
Worry.
And remember to share your work in the discussions.
Let's see how you guys are getting on.
And I will see you in the next lecture.