Welcome to Hue saturation and value.
Also abbreviated to hsp so we might have seen this already as we've been playing about when we're mixing
colours together.
BORGER to go into a bit more depth of what it means and how we can use it to our advantage.
So in this video we'll get to grips with what Hugh saturation value really mean.
An h s v value is a cylindrical representation severe imagine a cylinder in front of you.
Other points in RG be colour space.
So we'll go into more details on that at the moment.
Simply put Hugh simply means the colour or shade is it red is it green.
Is it blue or whatever the saturation is how much of there is that colour.
And finally value can be considered like a brightness with a value of zero being black and the value
of one being white.
And that's kind of all mixed together to make a shade.
So let's go and hop on over into blender and play with the hsp values.
Okay so we're over in my new default file here and let's go play with colours some going to turn my
cube here.
I'm going to go to it we've got a material already apply to it some would go to material mode so we
can see what's going on.
Not going to bother rendering and seeing what's going on in that point I'm just going to leave it on
material mode.
Okay so let's go to the diffused colour option on ma material and swish it over not to r.g. be but a
huge saturation and value so we can see what goes on here.
So let's first of all have a look we've got a colour wheel in front of us and this slide are going up
and down so if you see that as the top here of a s a cylinder and as we go down the cylinder it gets
darker and darker.
Obviously it's quite hard to represent a 3D shape in to the space but oh I've lost it there but it is
possible to do with these two sliders.
So Hugh were Hugh basically means where it is along this circle with a value of zero being red and the
value of one also being read as a little bit confusing but see it as 0 to 360 degrees around that circle
when she travelled 360 degrees back at the same point.
So a value of 1 or zero is red now.
Green and Blue are exactly a third of the way around this so if we set this to one over three will see
that the colour will turn green every set it's 2 over 3.
We will see that it turns blue so that's pretty much now.
Now what the hue means it's literally what colour it is.
Saturation is going to move this little dots this point inwards towards white so as saturation of zero
is always going to place it in the middle.
Of course then it doesn't matter what the hue is because there's none of that colour.
It means no colour at all.
Look I keep disappearing off of air.
Finally the value is this Slider here.
So if we turn that down we can make something darker.
So we still got a hue and a saturation of zero here and we've got ourselves a grey.
If we turn the hue up because we got a saturation of zero none of that he was being applied.
If I set this to well let's go for a green So that's go for one over three.
So I know it's going to be about a third So it's going to move from the centre point here towards the
outer edge and if we turn up the saturation we can see it slowly moving and our object getting more
and more green.
Now we want a lighter shade of green.
We can increase the value as well here.
The final channel channel that you can see here is the alpha channel.
So how opaque or visible it is not we're not going to play with that at the moment.
So what we can also do is if we hop into the node Ed is there is a node that's called Hugh saturation
and value as well.
So I'm going to ungroup this lot here so we can play with what's inside.
There we go.
I think I'm going to have a vertical workspace instead.
So let's move everything around.
I don't need much in here to see what colour things are changing so let's zoom in a little and give
myself as much space as I possibly can so you guys can see what's going on.
Okay so we've got this colour here so what we can do here is we can add in inputs and RG be value so
we add an analogy B value that's like having that control available to us so we can control the colour
without clicking on colour first and going in.
So now we've got that we can go to colour and go to Hue and saturation.
Plug this in so that we're changing the colour.
Also we've got some control.
Some extra control to highlight the point.
Having trouble connecting those two things because they're too close to their region.
So if I set this as green so a value of point five on the huge saturation and value node of hsp node
we can see that this Slider here starts at point five.
And what that means is we can go halfway around the circle one way or half way round the circle the
other totalling 360 degrees.
So if I decide to go to 0 I should imagine it'll come out a pink colour or a magenta.
There we go.
If I wanted to go to MIT to make this blue instead of green we can change this here too.
Or was that going to be that's going to be a quarter of the way around the circle so point seventy five.
There we go a blue in colour.
Obviously we can tweak those to get the actual blue that you wanted a logo.
So it's more light.
Point eight.
To get to the darker blue from this point on the circle.
Now of course you'll be thinking at this point in time.
Well Mike White has plugged the colour in that I want.
Well sometimes you don't have the ability to just pick on a colour where you might be dealing with a
chair texture itself that you need to make a slightly different colour and that's going to come in useful.
If you want to change the colour of a text to solms given you or even how dark the texture is or even
how saturated it is as well so you can use this node itself to change the actual incoming colour.
And finally we've got a factor as well so we can change the amount that that's being applied.
So I've put in a value of point eight there so goes to a blue.
Now I'm good.
If I wanted a lighter blue I'm going to decrease the amount that it's gone to impact the image.
So you need to make more subtle changes you can use the factor to shift things with a lot more finesse.
And now it's time for a challenge.
That's right we're finally going to hop back to our main project here and now we've got some more materials
experience and actually apply it to a simple model to begin with.
We learn to make a human eye.
So use all of the knowledge you have gained to this point to create a realistic eyes so we're going
to be focussed more on getting things physically accurate summation you got your reference material
to focus on.
Now I have included an iris texture in the section resources or of course you can make or use your own.
And this Iris texture is a blue.
So if you wanted a different colour you might want to use a hue saturation node to change that around.
Now consider the whites of the eye as well.
This is one thing that a lot of people forget about they put lots of detail into the iris because it's
quite prominent part of the eye.
Well the eyeball itself.
The rest of it is not going to be a single colour equally.
Don't spend too much working on the back of the eicas you're very unlikely to see that bull's video
now and give that a go.
Okay guys.
Welcome back.
Let's hop back over into blender and make a realistic human eye.
Okay so over on our head here and I'm.
Well it's a bit mis aligned at the moment so we can sort that out but I'm going to focus on the eyes
for the moment.
Make sure they're roughly in the right position.
Before we go ahead and work on them so we can see here as we zoom in that the centre of the eye itself
isn't lined up with the centre of the eye in the image.
Now my head slightly twisted in this shots is not a great example but this eye does need moving.
So I'm going to go into edit mode and literally.
Make sure of the right things selected and which you can move the eye itself.
So that it is in the right place.
Now materne snapping off.
That's what's making it behave a little bizarrely.
Now I'm going to whiz around to the side view as well and check it out there.
Okay so we've got our pupal just here and we've got our here so I can see it's a bit low.
So in this case I'm going to move it only upwards.
And check again.
Okay.
That looks pretty good.
Maybe up a little more.
Okay so this was background the front and see how it's looking there.
Obviously it's going to look odd with the head.
So I'm happy with the people being in the right place.
But the reference image is still a little low in this case.
So I am going to shift the reference image up and I'm going to move it about to help me out more than
anything else.
So let's go in.
There we go.
It didn't need to be moved that far at all.
It is helping me out now.
I'm going to have to Reese or even sculpt I could go into the sculped methodology or just move that
up the vertices around Sachi.
Maybe I'd look a bit less odd because well my eyes don't look like that.
In fact I think the whole face is a bit narrow looking at it and the jawlines not quite strong enough.
But anyway let's go ahead and hide everything else.
We shift and H.
So we can work on just the eyes.
And now we've got just the eyes in the scene let's focus on them and turn look on them from the front.
Let's zoom in on just one of them and see how the mesh is lined up.
Okay so that's a happy coincidence if nothing else.
This whole section here two of the biggest circle selects all but that whole section there is basically
the iris.
Now I find interesting because after last time working on an eye which is back on the bunny.
We didn't really care about realism or anything along those lines.
But if we now have a look at how much of that's actually selected that's a tiny bit of the overall eyeball
is going to be the iris.
Not I I thought you know again not using reference material that the iris would be bigger than it really
is.
So it is kind of important to remember to use reference material.
Otherwise you end up with non realistic items.
So that's going to be the iris there and I'm going to do some modelling now to make the eye more eye
shaped and I'll see you guys back in a few moments.
Okay to show you where I'm at at the moment with the modelling stage.
I've got my slightly elongated spheres here representing the eyes and I'd match that up to my eye on
the head as well.
And then inside of that I've made an iris.
So whereas before we made a cap to do the lens this time I'm going to use textures to make sure that
the lens is glass or that effect and the iris is an inside.
And if we can view the Iris which we can't without it being in wireframe moak as it's inside there's
the iris just there when looking at that that's actually slightly too large so I'm glad that I've shown
that at this point so I can go in and change it and move it about.
But that basically just needs to be moved a little bit further forward.
I think that's yeah.
It's that circle there that's going to have the iris texture on it.
Okay.
Let's go apply those textures.
I'll be back in a few moments.
Okay so we've unwrapped the actual mesh and applied texture of we whiz over here we've got this texture
that I've got here and we've got a basic node set up we've got a text tricorn to tell blender how to
map the image.
Now we've got colour coming out for the moment just for a diff use colour.
Now the one thing that I do want to be able to do is change the colour of the eyes.
I don't have blue eyes I have brown eyes and we can do that with a colour huge saturation plop that
in there.
And literally I can move the hue and saturation backwards and forwards and see what we get.
Now I'm going to change this to a 3D view so we can actually see what's going on.
So here's our new Iris and let's move along.
Or do I want purple eyes that's moving along with a bit o green Greens very nice and well.
They're almost there.
Value will that boost it up a little so I can get a deeper red.
Let's make it a bit Browner.
There we go.
Well I'm not quite sure I like that they're almost there.
They were get unhappy with that for the moment so we can tinker about with that to our heart's content
obviously.
Now let's get on with the rest of the eye of the eyes getting a bit of colour applied to it now I have
marked a seam around the equator of the eye there and I've unwrapped the eye as we can see over all.
Wherever I hid in it and I've unwrapped it I've created a new image called I base in a safe.
And this is in the resources as well as if you want to use this particular one if you've not got the
time to go in and paint it manually.
So I've got the back of the eye here in the front of me.
I hear an I've gone in and just literally started smoothing it out at the moment to add a bit of paint
to it's a bit more colour.
So I would continue doing that's going to take a few minutes to do and I shall see back in a few moments.
Okay so I'm getting to the point where I want some blood vessels on my eye.
Now it can be very difficult to make these.
However what I've gone and done is I've gone on to my painting area.
So arm in the texture paint the 3D editor and I've scrolled down to texture mask.
Now I can't select anything until we've got a texture of air.
So I've gone across to the textures tab and at the top here changed it to a brush mask with texture.
And after playing for a bit with the marble effect I found out that I needed to invert it.
Otherwise it was putting more blood in it then.
Here we go.
Here's an example here.
It's leaving sort of white lanes free rather than all the blood vessels non red.
And I didn't want that I want it the other way round so there we go.
We end up with this black and white.
And after playing with all of the settings I've managed to find something first in my mind looks relatively
close to blood vessels so I can go in and blender does lock up if I try and use it too much or too on
too large a scale.
But there we go we've got blood vessels very easily a bit randomly Of course.
But I think that's a pretty good effect.
The question is of course how much is this.
To be seen.
I don't and I also don't want to have a blood shot I say let's not go too over the top with it.
All that's going right.
Well let's see how that looks I can always come back and play with my texture later on.
And in fact I can also come in here and perhaps smear this middle area or even not on here maybe on
the image itself.
Oh blenders thinking.
Here we go.
Maybe even on here limited it's and perhaps even smear it out in this centre area.
Okay so the other map that I've made is basically a mask map where we have just a black dot telling
us where the people and Iris could be effectively creating the lens for us and we look at how that's
going to be working in a few moments.
So first of all let's go and have a look at the node set up that's creating this I so we whiz back over
here first of all we start off with the fact we're telling blender with a test to coordinate that we're
mapping these textures with you V.
Now let's have a look at the two textures themselves.
We've got this one which just masks out the pupil and iris area and then we've got the base itself and
we see here we've not got any think over the actual eye itself it's completely ignored because we deal
with that later on.
So we've got a diffuse smap which is well with that base colour applied across the entire model and
we've got glossiness okay and they're mixed together again using a friend now node with the factor so
we get a nice level of glossen we can see our three point lighting coming into effect here.
Okay.
The final thing here is the glass shader.
So the glass shader is only being applied to the people.
And the reason why it's only being applied to the pupil is because of this Mark shader here we're simply
saying that anything that's a value of zero i.e. black will be this first or top so I could move those
around a bit to try and be a bit neater.
But I've tried to keep things just in order.
And so we go to that final layer and combine everything together and we get a lovely eye.
The final thing to do of course is let's go to an outline so we can turn back on my head.
There we go.
There's the head what should be appearing momentarily.
There we go.
Now this isn't going to be great at the moment because we still need to modify the mesh of the head
itself and it's certainly taking a lot longer now to render than it's done before because the materials
are getting more complex but we can see here it's roughly in the right place.
We just now need to start modifying the head as well.
Now how did you guys get on.
Did you go through a similar creation process with the eye.
Did you go about it a different way.
I love seeing you guys work in the method you used to get there.
So remember to show your work and methods in the discussions and I will see you guys in the next lecture.