WEBVTT 00:00.210 --> 00:03.660 Welcome to the colour ramp node in this video. 00:03.660 --> 00:05.700 Well first of all what is the colour ramp node. 00:05.700 --> 00:14.760 Well the colour ramp node is generally used for mapping values to colours with the use of a gradient. 00:15.060 --> 00:17.690 Now become more apparent very shortly. 00:18.060 --> 00:22.320 It can be customized to produce very interesting results. 00:22.350 --> 00:25.250 We will be using it to control a single value. 00:25.260 --> 00:28.630 In the example coming up so we can just stick with the greyscale. 00:28.860 --> 00:31.850 But because colour is three separate channels. 00:31.860 --> 00:39.210 RG And B you can potentially control three separate values with this one node. 00:39.360 --> 00:45.540 And if you're a graphically minded person well its used to graphically control values so you can visually 00:45.540 --> 00:47.440 see what's going on. 00:48.150 --> 00:52.490 So let's go play with the colour ramp mode now and hop on over in a blender. 00:53.250 --> 00:56.580 Okay so we're back over in blender and to speed things along. 00:56.580 --> 00:59.480 I'm going to open up the save from The Last Lecture. 00:59.490 --> 01:02.380 So we've got something we can work with. 01:02.640 --> 01:05.200 So here we go this is what we were working on before. 01:05.340 --> 01:10.530 I'm asked to turn on the rendered view up and the top found one and make that whole area a little bit 01:10.530 --> 01:12.170 bigger so we can see what's going on. 01:12.360 --> 01:17.430 I'm going to get rid of this properties panel on the right hand side of the node editor. 01:17.570 --> 01:22.680 I want to keep value that's going to be useful and I'm going to get rid of power because that's what 01:22.680 --> 01:28.910 we're going to use instead of a map node we're going to use this colour RAM. 01:28.920 --> 01:31.340 So again it's a type of converter. 01:31.560 --> 01:35.040 And let's pop that in a bit wider than expected. 01:35.040 --> 01:35.430 There we go. 01:35.430 --> 01:38.990 Let's pop that in here and link these up. 01:40.110 --> 01:40.760 Okay. 01:41.010 --> 01:48.120 So what we've said she's done here oh let's plug into the right node input roughness. 01:48.540 --> 01:48.770 OK. 01:48.810 --> 01:53.580 So what we've essentially done here is nothing so far because of the value being passed through or that's 01:53.580 --> 01:55.110 just undo this for the moment. 01:55.110 --> 02:01.270 This value here is literally just moving along this gradient from one side to the other. 02:01.290 --> 02:06.420 And so looking at it it makes absolutely no difference. 02:06.420 --> 02:07.820 You plug this in here. 02:07.820 --> 02:09.700 Point two is going to be point two. 02:09.720 --> 02:15.410 And because of the gradient is linear across from one colour stop to another. 02:15.450 --> 02:21.900 These land soon in a little bit these little things that look like houses because it's uniform moving 02:21.900 --> 02:26.280 across then it will just be a one to one relationship. 02:26.280 --> 02:32.010 Now we can move these colour stops by left clicking on them and moving them to the left or right. 02:32.040 --> 02:38.100 Now what that will do is it will mean anything up and remember that black is zero black is always a 02:38.100 --> 02:43.740 value of zero anything up to position three because that's the selected one. 02:44.130 --> 02:47.570 Or point three will be Black. 02:47.570 --> 02:52.350 You'll be zero so any value that comes in will be made to be zero. 02:52.350 --> 02:56.090 Now this does help us move it along. 02:56.220 --> 03:00.240 But it's really just offset the beginning and squash the other side. 03:00.360 --> 03:07.380 So that means from this point here point three to 1 it's going to be a more exaggerated version of the 03:07.380 --> 03:08.680 problem we've already got. 03:08.760 --> 03:12.110 So that's not what we want to do in this case. 03:12.120 --> 03:19.500 Watts would be a particular solution here is to add another one of these colour stops and make this 03:19.500 --> 03:22.410 dark grey area last longer. 03:22.410 --> 03:27.780 Now there's a couple of ways you can do this which has hit the plus button here and that will put a 03:27.810 --> 03:30.140 colour stop smack bang in the middle. 03:30.210 --> 03:34.620 And we then can select that colour stopping is selective at the moment. 03:34.620 --> 03:39.960 We can tell that a number of ways who've got this dotted line coming out the top of it which shows its 03:39.960 --> 03:46.840 position and we can also see this number here is the active colour stop number one. 03:46.850 --> 03:50.110 And it goes 0 1 2. 03:50.190 --> 03:51.480 So it always starts at zero. 03:51.480 --> 03:52.940 It can be a bit confusing. 03:52.950 --> 03:57.230 Now this colour bar on the bottom enables us to change this. 03:57.270 --> 04:03.110 Now we're only going to deal with the grey scale at the moment so that means that's on huge saturation 04:03.110 --> 04:04.040 of value. 04:04.050 --> 04:07.150 The only thing we really need to move is the value controller. 04:07.220 --> 04:14.240 And if I lower that down to maybe point three we can see it stays darker for longer if it stays darker 04:14.250 --> 04:15.430 for longer. 04:15.450 --> 04:19.470 We should find that when we move the value along. 04:20.850 --> 04:26.490 It's much better than it was before and of course we can compare what it was before by just muting the 04:26.490 --> 04:32.040 colour ramps if I select that a Muta and come off again I can see that's made a difference. 04:32.070 --> 04:38.700 Now of course I can stretch that out further to make a have a more of an impact or indeed I can add 04:38.790 --> 04:44.950 another colour stop and make the gradient gradually change. 04:44.970 --> 04:50.490 So another way of adding a colour stop is to hold down control and left click and then you can place 04:50.490 --> 04:52.180 it where you want to place it. 04:52.200 --> 04:56.370 And again I can then go into here and change the value of that. 04:56.580 --> 05:03.500 Now this also gives us the ability to have black come back later on. 05:03.630 --> 05:07.480 So for instance at this wouldn't it be particularly used. 05:07.470 --> 05:12.960 Well I can't think of an application for it with the roughness input that we're trying to control at 05:12.960 --> 05:13.490 the moment. 05:13.590 --> 05:18.500 But it is kind of useful with other things if you wanted to take control of them. 05:18.530 --> 05:25.110 So sometimes it can be a little well tricky basically to select that ball going to pick this up and 05:25.110 --> 05:26.420 move it over here. 05:26.420 --> 05:32.080 So it's dark again and again to change it so it's a value of zero. 05:32.130 --> 05:38.130 And here we go we've now got black further along what we should find them I'm going to accurately position 05:38.130 --> 05:44.760 it by typing something in there or we should find is now it's shiny stars getting rougher and rougher 05:44.790 --> 05:47.840 and then suddenly gets shiny again before going completely Matt. 05:48.710 --> 05:53.990 So a value of point one all that some muter otherwise you don't see what's going on. 05:53.990 --> 05:56.040 Point to Point three point four. 05:56.050 --> 06:00.890 And we can see it's getting more and more blurring then as we approach point A. 06:00.990 --> 06:01.640 And there we go. 06:01.640 --> 06:06.590 It goes clear again of course if we were holden downshift and dragging it we'd see that a bit more gradual 06:06.860 --> 06:13.500 and then that final stage between point eight and a one just happens really really really quickly and 06:13.550 --> 06:18.420 that's it for probably only a couple of hundredths to move it along. 06:18.710 --> 06:22.700 So that is one of the ways we can use the colour ramp. 06:22.820 --> 06:28.280 Now one of the things to bear in mind with the colour ramp is in fact we've got four values we can play 06:28.280 --> 06:34.190 with so we can add another node in here to extract some of these values. 06:34.190 --> 06:36.720 So the colour there are three. 06:37.530 --> 06:40.710 Colours basically coming out of here red green and blue. 06:40.710 --> 06:46.050 So there are three values and there's a fourth value from the Alpha channel and we can use the hatz 06:46.050 --> 06:48.690 to control other things as well. 06:48.690 --> 06:56.880 So for instance if we go ahead and let's duplicate this glossy shader and then let's mix them together 06:56.940 --> 07:00.650 and I'm going to use that shortcut control in zero to do the mixing. 07:00.660 --> 07:09.150 I'm not going to worry about tidying it up and then I'm going to switch this out to a diffuse texture. 07:09.150 --> 07:14.010 And I get that error message I still haven't got to the bottom of it I think I just need to turn it 07:14.040 --> 07:16.710 on and off again but I'll look at that later. 07:16.740 --> 07:20.050 Doesn't seem to be breaking anything or may even be a bug in the program. 07:20.250 --> 07:22.930 OK so I've got all of this set up here. 07:22.950 --> 07:26.280 Now we've got the colour output coming out from this colour ramp. 07:26.460 --> 07:33.180 And what we can do is we can separate it into its individual channels and we can do that with another 07:33.180 --> 07:41.570 converter so we go an ad converter and we can see here separate R G B have we pop that in there. 07:41.670 --> 07:48.860 We can see that the image comes in so it doesn't have to be a plain old colour it is here. 07:48.860 --> 07:50.390 So every pixels the same. 07:50.520 --> 07:54.790 And I can say that with the red channel is going to control the colour over here. 07:54.900 --> 08:00.170 Now because it is a red channel controlling the colour. 08:00.330 --> 08:06.960 What we'll find is that everything that's one on the red obviously everything's just the same value 08:06.960 --> 08:12.840 at the moment but anything is cut coloured one on the red channel will be white because it'll bring 08:12.840 --> 08:17.560 across one one and one is single value here will be repeated three times. 08:17.790 --> 08:24.840 If we wanted it to break down basically to bring it back in to RG territory and control the colours 08:25.140 --> 08:30.990 we'd have to input all three of those into here. 08:31.020 --> 08:34.380 And as you can see you can't just drag and drop all three. 08:34.500 --> 08:37.010 So we have to combine them back together. 08:37.230 --> 08:38.070 And guess what. 08:38.160 --> 08:43.040 There is a node for that so we can go and add a converter and combine r.g. B. 08:43.050 --> 08:47.000 So then you've got red green and blue. 08:47.220 --> 08:49.080 So we can use that control colour. 08:49.350 --> 08:53.030 I can remove one of those we actually get a coloured ball. 08:53.430 --> 08:56.270 And here we can start playing with the values. 08:56.310 --> 09:01.430 So let's use blue to control the roughness setting. 09:01.800 --> 09:07.770 Let's use green and red to control so we're going to get a either a green red or yellow tinge coming 09:07.770 --> 09:08.680 out of here. 09:09.080 --> 09:13.620 Okay so now we've got this snow sets up we can play with the colours here. 09:13.620 --> 09:19.440 So what we don't want while I do want to whiz through it quickly and make sure that at no point does 09:19.440 --> 09:23.340 it go or horrible or it goes a bright yellow. 09:23.340 --> 09:25.020 That's the worst it gets. 09:25.020 --> 09:25.890 By the looks of things. 09:25.890 --> 09:27.980 By the time it reaches one. 09:28.110 --> 09:32.940 So what else can we do to control that so can we have it read at the beginning so how do we get it just 09:32.940 --> 09:33.390 read. 09:33.510 --> 09:37.620 We make sure that green is zero says go to this first. 09:37.830 --> 09:40.030 I need to zoom in a little on to here. 09:40.030 --> 09:42.240 Let's go to this first colour node. 09:42.240 --> 09:44.880 There we go and change this. 09:44.910 --> 09:48.010 So the RG be value of green. 09:48.260 --> 09:49.380 So let's go back there. 09:49.380 --> 09:54.010 Green is zero and red is one. 09:54.030 --> 09:57.650 So now it's slightly red at the beginning and it will turn. 09:58.560 --> 10:03.340 Well neutral here and slightly darker before going yellow. 10:03.360 --> 10:12.500 At the end because the value of one and one in red and green will produce that yellow. 10:12.510 --> 10:14.810 So there we go that's turning around. 10:14.820 --> 10:15.750 Perfect. 10:15.750 --> 10:19.630 Now there's another way of blending the colours this RG be input here. 10:19.680 --> 10:25.050 We'll do some mixing then you've got huge saturation in value and seat changes slightly how it mixes 10:25.050 --> 10:34.240 them together how we got HDL as well and they're all different types of how to blend those colours together. 10:34.380 --> 10:42.930 And incidentally you also get a different set of interpolations depending on which one you selected. 10:42.930 --> 10:52.800 So HSV and h s l they blend the colours first by converting it to those types of mixing and then combining 10:52.800 --> 10:57.450 them back together again and this has the advantage in maintaining the colour saturation between the 10:57.450 --> 10:59.580 different colours the difference hues. 10:59.580 --> 11:03.500 Whereas r.g. B itself would indeed saturate. 11:03.540 --> 11:05.880 And so for you you would lose. 11:05.970 --> 11:12.110 And we can see here you would lose the rich colour change as we go through now. 11:12.180 --> 11:16.900 RG just blends colours by mixing the colour channel and combining it all together. 11:17.130 --> 11:21.630 So we've got lots of different options here and of course you can play with them they give different 11:21.630 --> 11:24.470 results as we go near we can go clockwise. 11:24.540 --> 11:29.070 I don't think with this particular set up we are actually going to see much difference depending on 11:29.070 --> 11:31.680 which one here we select. 11:32.000 --> 11:38.250 Maybe as we move through we might be able to see at different rates of change between them. 11:38.250 --> 11:44.430 But you can see that we've got four channels to play with and we can actually control a lots of different 11:44.430 --> 11:44.880 things. 11:44.880 --> 11:51.480 Now this is a kind of a forced set up but you can see the power of the colour ramp over something like 11:51.810 --> 11:57.640 the MAF node is that you can be a bit where you can be graphical about a you can say when things are 11:57.640 --> 12:03.750 going to happen either have to be so linear about it so we can as demonstrated here have the gloss suddenly 12:03.750 --> 12:08.940 come back and disappear again later on as I say they're not sure of that's going to help us with this 12:08.940 --> 12:17.100 particular making the go or shade a roughness more accurate but it certainly can be applied in other 12:17.100 --> 12:18.380 methods as well. 12:19.450 --> 12:23.020 So one final thing to consider was the colour ramp is its inputs. 12:23.050 --> 12:31.330 So at the moment we have a value being imported which means that the whole object in one lump is just 12:31.330 --> 12:36.950 getting the one value wherever it happens to be on this gradient. 12:37.150 --> 12:43.960 Now what happens if we put in something else along here that can pick different points depending on 12:44.200 --> 12:45.660 what we what we want to do. 12:45.680 --> 12:49.280 So let's try this try that with a basic texture. 12:49.330 --> 12:55.420 So I'm going to go ahead and switch this out I'm going to you shift in S to do so and I'm going to go 12:55.420 --> 12:58.300 into texture and what have we got here. 12:58.300 --> 13:02.480 I do like the or annoy the grealy might be a bit let's try voron Oi. 13:03.260 --> 13:05.530 And here we've got areas now. 13:05.770 --> 13:06.220 Look at that. 13:06.230 --> 13:12.830 We've got areas where it's glossy well where it's red and somewhere it's yellow. 13:12.860 --> 13:14.130 This is quite cool. 13:14.120 --> 13:20.400 Of course we got intensity in cells that's changed four out in these discrete chunks. 13:20.450 --> 13:25.850 So let's go back to intensity and make these bigger which will make the value bigger which will make 13:25.850 --> 13:26.920 them smaller. 13:28.540 --> 13:33.260 And we started to get a slightly different texture across the surface of our Grobe. 13:33.400 --> 13:35.050 Let's try a different texture. 13:35.050 --> 13:37.360 Again I'm going to switch the outgoing texture. 13:37.360 --> 13:39.610 Let's try this gradient texture. 13:40.000 --> 13:46.360 Okay so look about we've got it what we on linnea so that's e is. 13:46.390 --> 13:51.850 Well it looks like it's gonna be red one side in yellow V over by the time we've mixed it with some 13:51.850 --> 13:53.680 glossiness in the middle. 13:53.870 --> 13:54.400 Yeah there we go. 13:54.400 --> 14:00.910 There's that rothesay bit in the middle that's this black band here so we can have different effects 14:00.910 --> 14:02.530 applied across our model. 14:02.590 --> 14:07.300 And of course we can actually just do colour ramp literally a colour ramp we could make it bread one 14:07.300 --> 14:12.160 side in yellow the other without having all this extra plumbed in. 14:12.160 --> 14:18.010 So you could apply with that with something like grass where grass tends to be a deep green by the roots 14:18.010 --> 14:24.370 and maybe a yellow a dirty sort of date yellow over time it gets to the tip and you control that with 14:24.400 --> 14:25.440 a colour ramp. 14:25.690 --> 14:30.640 Now do bear in mind if you do need a bit more control over your colour ramp you can make it wider. 14:30.640 --> 14:36.910 It only goes so wide of course but you can make it wider so you can see the gradient across it's a little 14:36.910 --> 14:38.150 bit more clearly. 14:39.300 --> 14:45.930 Something else that you could potentially do is let's get rid of this gradient texture and add in a 14:46.020 --> 14:47.990 layer weights. 14:48.780 --> 14:51.840 So now we can change this. 14:51.840 --> 14:56.510 The factor here depending on the angle of which we're viewing the object from. 14:56.670 --> 15:03.210 So there we are work we've got a very reflective band just round the very outside. 15:03.300 --> 15:10.350 So let's move this black finger move the reflection bit closer to the 90 degree if we call that here 15:10.680 --> 15:11.500 and there we go. 15:11.520 --> 15:13.390 Got reflection very close. 15:13.410 --> 15:14.910 And it gets more diffuse. 15:14.910 --> 15:16.630 But that's the wrong way round. 15:16.650 --> 15:19.810 So of course we can flip this and we can flip it very quickly. 15:19.830 --> 15:22.610 There's this double headed arrow so that will invert that. 15:22.770 --> 15:29.760 So now it's glossier around the very edge and I can push that very close together and actually have 15:29.760 --> 15:35.680 a very very glossy edge and a more or more rough centre. 15:35.970 --> 15:37.010 Perfect. 15:37.440 --> 15:42.930 And how about sums it up what you can do with the colour ampara Certainly an introduction to what you 15:42.930 --> 15:44.240 could do with the colour ramp. 15:44.250 --> 15:46.860 Bear in mind it's awesome for controlling things. 15:46.860 --> 15:56.190 We could plug in a in image texture in here which would map colours or controls depending on the actual 15:56.190 --> 15:57.030 map itself. 15:57.030 --> 16:04.290 So the possibilities with the kalorama are pretty much limitless and I will see you guys in the next 16:04.290 --> 16:04.990 lecture.