Cineversity

Hi,

I wonder if there is a way to bake multi channel texture.

I have this little setup as example. (uploaded image)

With this setup I can texture each hair with different materials, but It’s very slow! Is there any way to bake multi channel shader?

Hi JVerdugo,

Multiple channels or one channel multiple times? Polygon based, perhaps made editable, perhaps …
I could continue to guess which settings you have, e.g., in the Hair Object alone we can have a long Q&A about it,  and what shaders for example are in the Material. No idea if that will solve your problem.

To bake “default” hair, or materials of it, is not an option I’m aware of.

Would you mind to attach your scene file, or if that should be no in public (which would lower the idea of being in a forum) I can set up an upload link.

Anyway, to guess (what I really don’t like) I can’t see an option so far to do so. So, no real encouragement here, sorry! Of course I will try to find something.

Perhaps a copy, made editable and merged, as long as Hair was set to create polygons, then baked as one UV based texture and applied might (or not) work. I really don’t know your settings.

All the best

Hello Dr. Sassi,

thanks for the fast reply.

I have the hair generating flat polygons. In the fracture object I have assigned a Material tag which has alpha channel activated. I have added a “Mograph/Multi shader” with different gradients.
I have tried to cache the fracture but it doesn’t improve the performance. I guess this thing can’t be baked, right?

It would be nice that if I convert the fracture object into editable it generate different textures depending on the multi shader, so you get every single polygon with the proper material.

Is there a way to proper handle this operation?

Thanks, JVerdugo, for the additional information.

I though about the “Square” but “Flat” will result in UV’s which are all on top of each other. To separate them, the original information would match anymore. So, the make editable option doesn’t work.

Well. the whole thing shows as a “problem in the middle”, so let’s start from the beginning, what do you want to have? What the Hair, for example, has to do, is it dynamically?

Is the Fracture set up to separate or to have more than the MoGraph Color to separate?

Would it be simpler to use many Hair objects with single materials instead?

Over the last decade-plus, I have seen often that solving problems mid-way will result in more but perhaps smaller problems, while going back to the original target, a better solution might (!) be found. Of course not always.

How could one use the Hair point information, or solve it in a complete different way perhaps.

Let me know, I try to find something.

All the best

P.S.: This would be perhaps an alternative. The calculations of masks is eliminated.

Would that come closer. Dynamics are “on” in the Joint/IK. The Vibrate Tag is only for demo purposes.

Scene file:
https://www.amazon.com/clouddrive/share/25rEVmkzCuHaFTcVK68bScAQb3iXOKc5LnZOFpHwZjj?ref_=cd_ph_share_link_copy

All the best

P.S.2: Perhaps much simpler, and certainly easier to change, please have a look here:

Scene file
https://www.amazon.com/clouddrive/share/vuUFjy5AfUbGh1wczaYsFoe3xG18JdtRO3m3Qj2j6uH?ref_=cd_ph_share_link_copy

The nice thing about questions is, that each make me look for new combinations, and since there are more than many million possible/useful set ups, there is often a new one. So, thanks for your question!

The Spline Wrap can use Hair Spline (Hair> Generate> Splines). If the Hair Object is dragged into a Spline Wrap, each hair-spline is “seen” as a segment, and Spline Wrap starts with new segment to wrap the object over it.

The Fracture Object can take these apart and create a group of clones out of it (Fracture> Object> Mode> Explode Segments and connects.) Reading the segments here wired my idea back to the spline today, and it worked :o)
So, no Random Effector needed to create colors, no translation of these colors into masks, not calculations of the whole layers, etc. Just the Clone ID in the MultiShader and one can have up to a single Shader field for each clone, or less of course.

Enjoy.

Hello Dr. Sassi,

thanks for the reply and the scenes.

The second scene is a very smart setup, the only thing is I need to create one shader for every hair, I have several hair objects, and each one could have between 300-700 hairs. However I get this setup for little clusters of hair. Thanks!

I think I forget to mention one detail, I am animating the offset of the material in order to create the feeling of movement from the root to the tip. This is why the random color was very handy, because it allows me with one single material to create a lot variation in the hairs animation.

However I took your advice and think about other solutions instead of trying to go this way. And I realize that I could animate the thickness instead. Then I can create different animated hair tags, and mix it with the percent mode. It gives me even better results.

Here a link of the wip of the animated loop I’m working on, I think you will understand better.
https://drive.google.com/open?id=0B5SG9z1m_JtAZm1qYU5VbWV6Yk0

Off Topic question: Is there a way to loop turbulence shader?, and the turbulence of gradient shader?

Regards!

Hi JVerdugo,

I guess you gave me the link to your access, which would require your log in info. Should I create an upload link?

The solution with the MultiShader is the fastest way I can think of, especially if you have textures in a folder, you can load hundreds at once.

.

The Gradient has not a loop function, and “cycle” will repeat not loop.

The Turbulence Noise, please note that the Movement and Speed should be zero. The Animation Speed and the Loop should be not. Then you get a loop.

Manual:
Loop Period [0..+∞].
This setting is available for almost all types of noise, with the exception of Electric, Gaseous, Random and Wavy Turbulence, and will loop the noise in accordance with the time in seconds defined (Animation Speed) must not be set to 0). A value of 0 will turn this effect off. Note that, internally, the animation speed can then be adjusted accordingly and therefore change.

There are two areas which have a dramatically different effect on the result. The Movement/Speed will just move the whole noise cloud, the Animation Speed/Loop Period (based on fps of the scene) will just take the algorithm for the noise and cycle throw it, to get a seamless results. The movement will take the results of the algorithm, and move them like clouds in the sky. I hope that makes sense. If not, please let me know, I will try differently then.

All the best

Thank you, I got your clip, JVerdugo.

Here is a scene file, with multiple shaders on hairs (which could be much more), while the wind and the Displacement Deformer put some motion into it. Rough, but it is a sketch!

Scene file
https://www.amazon.com/clouddrive/share/zcAQdD4SBPeaf9qwnrh34kQkkvDqnUQEzlqe0sRYmLd?ref_=cd_ph_share_link_copy

If you change the Spline Wrap and the Displacement position, the result will look different!

The colors and all the other settings are “screaming” but the point is to share a working file, the art directing is your part.

I hope that helps

All the best

P.S.: with some more tweaks, colors are just random
Screenshot
https://www.amazon.com/clouddrive/share/DXg3hmUuKZbdCL76Tzz9D6qXQ2ovqOSdssJyGg5lTZs?ref_=cd_ph_share_link_copy

Hey Dr. Sassi, this setup is really wonderful!

Thanks for the help

Thanks for the nice feedback, JVerdugo!

My best wishes for your project.