WEBVTT 00:00.450 --> 00:03.230 Welcome to the label wait node. 00:03.270 --> 00:05.820 So what does the lay awake neighbourhood do. 00:05.820 --> 00:12.180 Well it's usually used for controlling the weighting of its shaders via the mix shader noted. 00:12.210 --> 00:16.860 Now is not to be said that it can't be used for other things as well if you want to get creative but 00:16.860 --> 00:19.200 that is its typical use. 00:19.200 --> 00:25.470 And here we have just a simple no structure set up here we've got to shaders going into a make shader 00:25.830 --> 00:33.330 and out to the material outputs and we've got the laser weight no sat there and we have two outputs 00:33.330 --> 00:41.640 from the layer wait for now not Fresnel But for now and facing and we'll just explain those two outputs 00:41.640 --> 00:45.190 and those would plug into the factor in order to control it. 00:45.540 --> 00:46.790 So what does it do then. 00:46.800 --> 00:53.640 Well the friend Nell output has a very sharp fall off and we'll see that in action in a few moments. 00:53.790 --> 00:59.040 The facing output blends from one shade to the other in a more linear fashion. 00:59.340 --> 01:06.240 Both do depend on the angle of incidence of the surface in relation to either the viewer or the camera. 01:06.240 --> 01:12.770 When you're doing a rendering So let's go explore the layer weights now and hop on over in a blender. 01:14.610 --> 01:20.310 Okay so we're over in blender here and the first thing I'm going to do since we're going to be using 01:20.640 --> 01:25.020 three different set ups is create three objects to apply to. 01:25.170 --> 01:28.620 So I got one kubal ready I'm going to duplicate that cube. 01:28.770 --> 01:36.030 And I actually want snapping turned on with increments so I can literally just move it along the y axis 01:36.360 --> 01:37.450 very easily. 01:37.620 --> 01:41.230 When you duplicate that cube again and move it this side. 01:41.430 --> 01:48.270 Finally I want to see what it looks like over a smooth surface as well so I'm going to add in a sphere. 01:48.410 --> 01:52.530 So mash or just off I want to uv's Sphere. 01:52.770 --> 01:56.040 Oh miss that they're so uv's Sphere. 01:56.040 --> 01:56.760 There we go. 01:56.890 --> 02:02.370 And I'm going to move that one back slightly and turn on smooth shading and then duplicated a couple 02:02.370 --> 02:03.910 of times as well. 02:04.710 --> 02:12.650 Okay so I've now got six objects and they're going to be ampere's with a mic shader a waiting for an 02:12.650 --> 02:15.100 L and a waiting with facing. 02:15.140 --> 02:22.160 Okay so let's go ahead and start setting that up sampling to switch this view or duplicate it and switch 02:22.190 --> 02:28.520 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 02:28.520 --> 02:33.950 uniform and we don't want any lighting effects on them Go here to the lamp properties and switch it 02:33.950 --> 02:34.460 to a sun. 02:34.460 --> 02:40.910 I'm going to click on use node saw it can increase its intensity too or maybe even three. 02:40.910 --> 02:41.570 There we go. 02:41.630 --> 02:43.030 Nice and bright. 02:43.400 --> 02:43.620 Okay. 02:43.640 --> 02:45.420 So we've got our six objects here. 02:45.590 --> 02:51.560 And when I switched this top one over to a node editor and zooming. 02:51.560 --> 02:53.450 So even I can't read that. 02:53.450 --> 02:55.770 And we can see here we've got a mission. 02:55.880 --> 03:00.750 We're on the lamps so let's click on one of the cubes and I'm going click use nodes here. 03:00.770 --> 03:06.140 I could use the materials properties over here but I'm just going to click on use nodes and I'm going 03:06.140 --> 03:10.170 to make one of these a pure green. 03:14.320 --> 03:15.900 So that one there is pure green. 03:15.900 --> 03:21.390 I'm going to duplicate that and make this next one a pure red. 03:21.400 --> 03:28.900 Now in contrast to the last lecture where we were talking about absolute colours being a bit of a problem 03:29.140 --> 03:33.370 in this case they're actually going to be a bit of a solution because they're going to enable us to 03:33.370 --> 03:36.600 see what pure mixes end up doing. 03:36.640 --> 03:42.940 For instance I would expect if I mix these two together with a 50/50 waiting it would be like having 03:42.940 --> 03:48.580 red and green channels at 100 percent so we should end up with yellow looking just like this. 03:48.580 --> 03:54.880 Let's see if that is what happened so let's turn all the red all the way back down the thread he says 03:55.270 --> 03:56.380 not deciding which one. 03:56.380 --> 04:02.050 So let's go ahead and add in a mix shade up and mix these two together. 04:02.050 --> 04:03.000 And what do we get. 04:03.040 --> 04:04.480 We get a yellow. 04:04.480 --> 04:09.800 It's not quite as bright as the last one but it's a yellow which is what we were predicting. 04:09.850 --> 04:13.930 So I'm going to minimize all dimming to get rid of the head a bar there. 04:13.930 --> 04:18.400 I meant to pull this down a little longer to minimize these two shaders. 04:18.400 --> 04:23.410 Now one thing to bear in mind when you minimize their licence small like this I'm going to move them 04:23.410 --> 04:24.560 out of the way. 04:24.580 --> 04:30.300 Now if you wanted to go back in and edit those at any one point if we expand this one here we can see 04:30.330 --> 04:30.820 all. 04:30.840 --> 04:34.410 It just covers up the one underneath it which is not so great. 04:34.450 --> 04:39.130 So I'm going to keep the minimized any way and just bear that in mind if you do ever minimize them. 04:39.130 --> 04:43.150 That if you maximize them again so you can see what's going on you may cover other ones up. 04:43.150 --> 04:48.730 If you move them in they're minimized format to the funnel then we're going to do here is actually add 04:48.790 --> 04:53.680 in a layer weight which is under the input menu layer weight. 04:53.750 --> 04:54.730 And we're going to see that there. 04:54.730 --> 04:59.380 Now when you're going to connect it at the moment because this material is just the mixing material 04:59.650 --> 05:02.180 and I'm going to name it such so I know what's going on. 05:02.200 --> 05:03.610 So that's mixing. 05:03.790 --> 05:10.180 I'm now going to select the next Q belong which was the original cube and I'm going to make it unique 05:10.180 --> 05:15.330 by clicking on the little three on the head of barnet's to mixing and I'm going to call this friend 05:15.330 --> 05:16.210 Nell. 05:16.480 --> 05:20.140 I want them a plug fat in as well to the factor. 05:20.200 --> 05:20.930 And there we go. 05:21.030 --> 05:21.770 Changed. 05:21.970 --> 05:27.450 Now it looks more green than anything else but will mix be explore with that in a few moments time. 05:27.520 --> 05:29.820 And this final one here we're going to make it unique. 05:29.830 --> 05:33.190 Plug in the face seeing and call it facing as well. 05:33.190 --> 05:35.250 So we know exactly what's going on. 05:35.590 --> 05:41.200 So now we've named those we can see that it's had a different effect on all of these three cubes. 05:41.200 --> 05:46.200 We're going to apply these materials now to these spheres as well so I'm going to click on the sphere. 05:46.420 --> 05:49.990 Click on the materials here and change it to mixing. 05:49.990 --> 05:52.190 This one here for a nail. 05:52.210 --> 05:56.310 This one here I'm gonna set it to facing. 05:56.410 --> 06:00.730 Now of course we could have done that all through the materials properties over here as well if we wanted 06:00.730 --> 06:01.420 to see. 06:01.750 --> 06:05.410 Okay so now we've got these three set up we can see hats. 06:05.440 --> 06:09.150 It does look different depending on what's going on. 06:09.340 --> 06:13.410 So let's start with the facing because that's the easiest one to understand. 06:13.450 --> 06:19.060 If you're looking at it 90 degrees or as we call this zero if you're looking straight at the face you 06:19.060 --> 06:22.060 get the bright green you get 100 percent green. 06:22.120 --> 06:25.130 If you look at it from 90 degrees which is actually impossible. 06:25.210 --> 06:29.730 If you look here from eighty nine point nine degrees and let's switch to orthographic projections huge 06:29.750 --> 06:32.920 knots perspectives mucking around with us. 06:32.920 --> 06:34.790 We can see the that's gone red. 06:34.900 --> 06:36.960 You see that here in the spheres. 06:36.970 --> 06:42.400 Most of all where the edge which is close to 90 degrees it falls off. 06:42.400 --> 06:45.460 We get more of a red than the green. 06:45.460 --> 06:52.040 And to put that in shader perspective if we look at the nodes themselves I think Green was the top one 06:52.040 --> 06:54.310 and expand it to have a look yes. 06:54.520 --> 06:55.700 So greens the top. 06:55.720 --> 07:04.210 So when you're facing the surface you get the top shade and when you're at 90 degrees to the surface 07:04.210 --> 07:06.990 you get almost the full bottom shade. 07:07.030 --> 07:13.300 All the forborne shader of which are shooting facing now for a Nells not quite like fat let's make this 07:13.300 --> 07:14.650 window bigger again. 07:14.980 --> 07:20.980 Therefore a nail has a much sharper fall off and it doesn't go to 100 per cent either way so we can 07:20.980 --> 07:27.760 see looking down directly around 90 degrees in fact just press a number pad 7 to do that we can see 07:27.760 --> 07:34.270 there's a slight tonal difference in these greens and if we look at it from the side that side this 07:34.270 --> 07:36.930 side we get a similar source of effect. 07:37.030 --> 07:44.470 Now if I start rotating round ever so slightly You can also see that it's not it's not really red it's 07:44.470 --> 07:47.550 more of an orange at that stage as well. 07:47.920 --> 07:49.740 So there's never a 100 percent mix. 07:49.780 --> 07:55.240 But the other thing that it does is now watch as I start to move around so that zoom in slightly so 07:55.240 --> 08:01.120 we can see this in more detail as I start to move around you'll notice that it falls off very quickly. 08:01.270 --> 08:02.540 So let's go back again. 08:02.560 --> 08:05.690 So it's almost almost hundred percent red there but not quite. 08:05.710 --> 08:10.820 And as we move around it falls off incredibly quickly. 08:11.140 --> 08:13.380 There's lots of use for this like. 08:13.610 --> 08:19.460 How specular resurface happens to be when you view it at a certain angle so this is a great thing to 08:19.460 --> 08:25.790 know when it comes to water because water is just like Fats if you look at it from one angle you can 08:25.790 --> 08:31.200 almost see straight through it all or if you look at it from 90 degrees you can almost not. 08:31.490 --> 08:33.110 And of course we can play with this. 08:33.110 --> 08:38.450 It doesn't have to be diffuse shaders it could be a gloss shader it could be an emission shader try 08:38.450 --> 08:45.520 mixing an air mission with a glass shade that produces some really cool effects. 08:45.890 --> 08:48.920 And now we've explored this layer wait now. 08:48.950 --> 08:50.920 It's time for a challenge. 08:51.110 --> 08:54.670 Okay I'd like you to go ahead and have some fun. 08:55.010 --> 08:58.360 Try different shades setups using the layaway. 08:58.370 --> 08:58.640 No. 08:58.640 --> 09:00.360 To control them. 09:00.560 --> 09:07.490 One of my personal favourites is the glass and emission combination and also diffuse and transparent 09:07.490 --> 09:10.160 can give some lovely soft edges. 09:10.160 --> 09:13.390 Now once you've finished having some fun with the lay away. 09:13.410 --> 09:13.920 No. 09:13.970 --> 09:21.530 What I'd like you to then do is go ahead and finally apply this to your head between the rest of the 09:21.530 --> 09:27.160 nodes that come through all those MC shaders and the final gloss shader itself. 09:27.290 --> 09:30.100 Pause a video now and give that a go. 09:32.120 --> 09:33.950 Okay guys welcome back. 09:33.950 --> 09:36.570 Let's go have some fun over in blender. 09:38.640 --> 09:39.900 Okay Sahib. 09:39.900 --> 09:40.700 Want to show you. 09:40.710 --> 09:42.090 That's really quick. 09:42.090 --> 09:47.760 My favourite combinations so I'm just going to hijack all the work I've done so far. 09:47.760 --> 09:50.270 Here an add in to shaders. 09:50.280 --> 09:57.380 I'm going to add in the emissions shader and I'm going to add in a glass shader as well. 09:58.930 --> 10:01.200 Just make this a bit bigger so I can see what's going on. 10:01.200 --> 10:02.530 Or grab the wrong area. 10:02.560 --> 10:03.430 Never mind. 10:03.660 --> 10:11.100 Okay so let's add in these just as their standard glass and emission and I've got them wrong way round. 10:11.100 --> 10:12.790 Let's swap them back. 10:12.790 --> 10:14.160 Excellent. 10:14.170 --> 10:19.230 So this is what it looks like when it's plugged in with facing this is what it can look like with the 10:19.240 --> 10:19.960 for an L. 10:19.960 --> 10:20.740 Pretty awesome. 10:20.740 --> 10:25.780 And of course with the emission you can change the colour so whites with glass is going to be see through 10:25.780 --> 10:33.490 of course but the emission itself we can have a really cool blue we can back off on the blend itself 10:33.490 --> 10:37.460 up the top here and have well a glowing or. 10:37.510 --> 10:38.670 How cool is that. 10:38.680 --> 10:42.270 All look we can look through at the other optics or some stuff. 10:42.410 --> 10:42.710 OK. 10:42.760 --> 10:47.380 So let's go and play with my head. 10:47.380 --> 10:50.160 Literally my head in my case. 10:54.950 --> 10:55.430 Okay. 10:55.430 --> 10:58.880 And I don't think I've applied any of my no jets. 10:58.880 --> 11:01.540 I'm going to have to go ahead and set those up. 11:02.820 --> 11:04.410 Oh no I haven't. 11:04.640 --> 11:11.800 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. 11:11.800 --> 11:17.170 We're going to have a girl losh shader lost CBS to air. 11:17.200 --> 11:18.630 There we go. 11:18.650 --> 11:21.730 And I don't want to pluck them together like this. 11:21.750 --> 11:22.840 Bring that out. 11:22.870 --> 11:28.660 We're going to want a couple of serf's sub surface scatterings as well so we're going to have a couple 11:28.660 --> 11:31.530 of layers of those silhouettes duplicates. 11:31.550 --> 11:35.940 That's popping up they're going to have another one mixed together. 11:35.950 --> 11:41.080 Then we're going to have another one and then we're going to have a glossy as well so we're going to 11:41.080 --> 11:45.250 have one two mix mix mix mix. 11:45.430 --> 11:51.220 So quite a few mix shaders here so let's add one and blend them together amphicar going to have all 11:51.220 --> 11:52.930 mccommon ones on. 11:52.930 --> 11:54.380 Stop a moment. 11:54.430 --> 12:00.190 I'm struggling with screen space here so bear with me a few seconds when I saw that out. 12:00.790 --> 12:01.520 Okay. 12:02.710 --> 12:07.540 Let's get rid of that and move this across the wonders of working with a small screen. 12:07.560 --> 12:10.500 Okay so we've got two subsurface scatterings. 12:10.650 --> 12:12.220 They're going to be mixed. 12:12.980 --> 12:16.040 Spot the mix at the top I think as we go each way. 12:16.070 --> 12:20.880 Of course we could use the laser weight at various stages as well if we wanted to. 12:20.980 --> 12:28.220 I am not going to do that however and duplicate them makes shader and duplicate the Make shayler and 12:28.220 --> 12:31.130 duplicate the make shader. 12:31.130 --> 12:33.990 That should give us a nice flow as we go through. 12:34.040 --> 12:42.320 It is important when youre mixing things together that you do have a good idea of where they're coming 12:42.320 --> 12:45.680 from and the flow with your notes as we can see here. 12:45.680 --> 12:53.180 I've kept all the mic shaders on the top and all of these are mixing down as we go the glossy one we 12:53.180 --> 12:58.560 want control the factor here with a layer weights node so let's go and do that. 12:58.580 --> 13:05.260 Plug this into the outputs as well and input layer weights and pop that in as well. 13:05.390 --> 13:11.000 Now which one of these I choose will depend on how it looks so ominous split this window now I've got 13:11.000 --> 13:15.860 that roughly sorted out and I'm aware I need some colours don't I. 13:15.860 --> 13:20.690 So will I need a deep dark red here but not 100 percent. 13:20.780 --> 13:26.860 80s fine that's a bit of other colours to it and make it a little bit darker. 13:26.900 --> 13:30.280 Let's make this one a little bit lighter. 13:30.290 --> 13:32.000 I'm just going to pick some random colours. 13:32.000 --> 13:33.640 This one even more. 13:34.760 --> 13:35.160 Kate. 13:35.180 --> 13:36.970 Perfect. 13:36.980 --> 13:40.640 Now we've got these running through and I got a few sleigh of air as well. 13:40.650 --> 13:47.140 That's absolutely fine for and might lighten that up as well because that's the real top of the skin 13:47.170 --> 13:49.780 so that's not going to be very dark at all. 13:49.790 --> 13:51.700 And again I'm not playing with these. 13:51.710 --> 13:55.790 I'm just getting them roughly right and trying to get a perfect set up here. 13:55.790 --> 13:58.660 I do need to adjust my radius so. 13:58.700 --> 14:00.790 Not going to have 100 percent. 14:00.800 --> 14:07.050 I'm going to have maybe 60 percent of the red coming through and the rest of it being absorbed. 14:07.050 --> 14:11.990 So this is saying that most of the scattering will be the red lights. 14:11.990 --> 14:14.870 The rest will be absorbed more readily. 14:14.920 --> 14:22.370 And this is going to be similar but less so so this is what I would click on the right areas radius 14:22.370 --> 14:22.860 here. 14:22.860 --> 14:28.700 Some of them I have maybe 40 and 20 and 20 just using tap there to skip through them. 14:28.700 --> 14:34.880 This last one is not going to be very much scattering ator as can be absorbed very quickly and point 14:34.880 --> 14:36.670 1 and point 1. 14:36.740 --> 14:39.860 Okay so that is coming through. 14:39.880 --> 14:42.760 Absolutely fine to Vista there. 14:43.070 --> 14:46.690 And let's hit the render button and see how this is looking. 14:46.730 --> 14:53.780 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 14:53.930 --> 14:57.100 let's try for a nail to begin with. 14:57.110 --> 14:58.910 Let's see how that looks. 14:59.180 --> 15:05.660 Should now be glossy in only places that are facing is that right facing the camera. 15:07.590 --> 15:09.800 Let's take the gloss out completely. 15:11.550 --> 15:14.370 Kate's look Ashley that looks pretty good. 15:14.390 --> 15:16.660 That was a good rough guess going around there. 15:16.980 --> 15:17.910 Okay. 15:18.090 --> 15:23.760 Glass only on mellops Try facing and of course we can change the factor as well. 15:23.760 --> 15:25.940 Takes a couple of moments for these Sir runouts. 15:25.950 --> 15:27.050 This is quite shiny. 15:27.090 --> 15:34.980 Of course this glass will be mapped soon using basically a u v map with showing us where it's glossy 15:34.980 --> 15:38.540 and where it's not raavan just having the whole thing glossy. 15:40.430 --> 15:41.130 Okay. 15:41.140 --> 15:42.590 And let's just try for an L again. 15:42.590 --> 15:46.610 I've got a feeling that fanelle is going to be better for our application. 15:47.090 --> 15:54.210 And I'm just going to knock this down to a point too so it's not so much of the gloss coming through. 15:54.710 --> 15:57.050 I'm a little bit more actually. 15:58.970 --> 16:01.410 Types in point two again. 16:04.580 --> 16:11.300 Okay some going to have a look about through the camera and render that out so I can just see how it's 16:11.300 --> 16:16.400 looking fully now for my render settings here because it's going to be a bit more detail I'm going to 16:16.490 --> 16:16.750 up. 16:16.760 --> 16:22.710 That's two hundred and of course here F 12 and let that render out. 16:22.850 --> 16:28.190 Now because the resolutions are relatively low it's going to give us a rough idea of what's going on 16:28.530 --> 16:28.910 now. 16:28.940 --> 16:36.470 I like that that's a good good bit of sheen in places but not overpowering coming together really nicely. 16:36.470 --> 16:37.890 How was yours getting on. 16:37.980 --> 16:41.030 I hear you done a bit more modelling than I have done here. 16:41.030 --> 16:45.170 So looks a bit more humanoid rather than mannequin at the moment. 16:45.170 --> 16:45.800 We'll get there. 16:45.880 --> 16:46.490 Worry. 16:46.670 --> 16:49.680 And remember to share your work in the discussions. 16:49.700 --> 16:51.690 Let's see how you guys are getting on. 16:51.770 --> 16:54.510 And I will see you in the next lecture.