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All Tutorials
| Tutorial | Instructor | Date Updated | Runtime | Views | Type |
|---|---|---|---|---|---|
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Chapter 18, Material, 1807_0239, Shader Dirt
Chapter 18, Shader Dirt Since version 9 this has been replaces with Ambient Occlusion. Actually, it’s more than a replacement. |
Dr. Sassi | Sep 06 2006 | 07:17 | 269 |
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Chapter 18, Material, 1807_0249, Shader Vertex
Chapter 18, Shader Vertex With this shader you can use a vertex map/tag that is applied to an object. It will create a black to white value proportional to the weight values in the tag. So you can paint on the objects and put, for example, a mask channel (Fusion/Layer). Finally, the movie leads you through the process of creating an Xpresso tag to mix two vertex maps into a third one with a soft animated transition. |
Dr. Sassi | Sep 06 2006 | 13:08 | 240 |
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Chapter 18, Material, 1807_0248, Shader Tiles
Chapter 18, Shader Tiles There are many presets, so it can be easy to get lost. Also, it can be difficult to get all channels in synch when you want to use the full potential of the material. For that you can use Xpresso. |
Dr. Sassi | Sep 06 2006 | 15:36 | 148 |
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Chapter 18, Material, 1807_0247, Shader SubSurfaceScattering
Chapter 18, Shader SSS Triple S is the Shader with life under the skin. It doesn’t like to be used in conjunction with transparency. It can be used to produce translucent materials, but it can be a little bit picky about the parameters. |
Dr. Sassi | Sep 06 2006 | 10:01 | 384 |
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Chapter 18, Material, 1807_0246, Shader Spline
Chapter 18, Shader Spline This shader takes splines as the information source to create a “texture” on the surface. It can also create text. As a little suggestion I show you how to create a blueprint from your object. |
Dr. Sassi | Sep 06 2006 | 15:23 | 209 |
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Chapter 18, Material, 1807_0245, Shader Proximal
Chapter 18, Shader Proximal The Proximal needs contact from Object, vertices, or whatever will work from this list. Particles that come near or even hit the surface of the object where it is attached, will create different brightness on the surface. As usual, test this in different channels! The movie will also show you how to use it as a mask. |
Dr. Sassi | Sep 06 2006 | 12:12 | 294 |
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Chapter 18, Material, 1807_0244, Shader Posterize
Chapter 18, Shader Posterize A standard effect to reduce the amount of the numbers of colors. Like the effect in Photoshop. But here you can use this one for shaders, gradients, noise etc. BTW: All of these can be animated. |
Dr. Sassi | Sep 06 2006 | 06:13 | 144 |
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Chapter 18, Material, 1807_0242, Shader Luma
Chapter 18, Shader Luma It’s functionally is a lot like the Smell like Almonds Shader, the Stand alone one. So I did not repeat this again—This time, I try to use it in a totally different way. In this tutorial, I show how to create a specular effect that automatically adjusts to use only the specular information in some channels where you wouldn’t normally use it. But take a look! |
Dr. Sassi | Sep 06 2006 | 06:35 | 182 |
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Chapter 18, Material, 1807_0241, Shader Fresnel
Chapter 18, Shader Fresnel The fresnel effect is an absolutely important effect to understand, because it is the only way to produce natural effects, like reflections on water. In CG you often see un-natural results when standard physical rules are ignored. Fresnel is the shader that gives you the option to simulate natural effects. |
Dr. Sassi | Sep 06 2006 | 11:53 | 245 |
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Chapter 18, Material, 1807_0240, Shader Falloff
Chapter 18, Shader Falloff A vector based shader. You will find an explanation about the vector here too. There are three different modes to oriente this Vector and change the direction on the first. So it will be used to make the normal direction to a parameter (world) in your Shader tool box. |
Dr. Sassi | Sep 06 2006 | 13:24 | 200 |
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Chapter 18, Material, 1807_0237, Shader Colorizer
Chapter 18, Shader Colorizer The Colorizer gives you the option to use just a gray value texture/shader and exchange the information depending on the position of a gradient. The black values will exchange with the left hand information of the gradient and the right will exchange the white values. All gray ones follow the positions between the Black and white. so you can create totally different results of nearly all other shaders. |
Dr. Sassi | Sep 06 2006 | 11:03 | 166 |
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Chapter 18, Material, 1807_0236, Shader Backlight
Chapter 18, Shader Backlight This is a jungle shader, especially the green color as preset indicates for creating leaves and more. As usual there is more to it than that. It can also produce just shadows, but as a shading result. That means you can distort the shadow (like an underwater effect). It will work also in other channels - give it a try in the alpha channel. You never know where it will finally lead. |
Dr. Sassi | Sep 06 2006 | 08:34 | 312 |
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Chapter 18, Material, 1807_0235, Shader Fusion
Chapter 18, Shader Fusion The Fusion is the little brother of the layer Shader, with a bottom and a top layer, with the option to mix both with a mask and /or with a blend mode. |
Dr. Sassi | Sep 06 2006 | 05:31 | 232 |
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Chapter 18, Material, 1807_0235, Shader Fusion Special
Chapter 18, Shader Fusion Special Normally you use the alpha channel in a 2D way, depending on the projection method. Texture projections the 3D interpolation of a 2D source. Here, the option to create a real 3D alpha is given! Like a boolean function. So you are able to separate textures in space (object space). |
Dr. Sassi | Sep 06 2006 | 05:56 | 225 |
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Chapter 18, Material, 1807_0234, Shader Projector
Chapter 18, Shader Projector This shader enables you to have in a single channel a different Projection method. But that’s not all. You can use this shader with Fusion and in the Layer shader too. How to set them up? Maybe with a little trick. If you are used to working with stacking shaders in another application and textures and gives everyone it’s own projection method, here is the answer. |
Dr. Sassi | Sep 06 2006 | 09:46 | 230 |
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Chapter 18, Material, 1807_0231, Shader Nukei
Chapter 18, Shader Nukei Two shaders in one with the option to blend with other shaders or a textures. The blend works in the way the shader fusion works. So you can create very tricky materials with a rich use of the light sources. To animate the transition between shader 1 and shader 2, you will find also the information in the fusion section |
Dr. Sassi | Sep 06 2006 | 12:47 | 240 |
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Chapter 18, Material, 1807_0230, Shader Mabel
Chapter 18, Shader Mabel Mabel sounds like Marble and that is nearly a good description of it. Finally it is a double shader and you can mix both. You are able with this one, to get very advanced results that you can normally only achieve with a combination of three or more shaders (fusion/Layer with mask and two other pixel sources… etc.) |
Dr. Sassi | Sep 06 2006 | 10:33 | 176 |
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Chapter 18, Material, 1807_0229, Shader Danel
Chapter 18, Shader Danel Anisotropy may be the most used feature of this shader. The very smooth, near glossy-shiny looking effect that you can produce with it. Some examples will lead you to some very different directions. |
Dr. Sassi | Sep 05 2006 | 11:39 | 208 |
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Chapter 18, Material, 1807_0227, Shader Banzi
Chapter 18, Shader Banzi One of the big advantages is the triple option to set the specular in the SLA shaders. This one goes into the main theme of that shader, wood. A huge amount of parameters are available to make a nice wood pattern. |
Dr. Sassi | Sep 05 2006 | 10:48 | 231 |
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Chapter 18, Material, 1807_0226, Shader Banji
Chapter 18, Shader Banji From the standard parameters to some experiments how far you can use this shader in your work, uses of dull or frost style to more ornamental aesthetics. |
Dr. Sassi | Sep 05 2006 | 15:58 | 312 |
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MoGraph, Shader-Light
Mograph, Shader-Light The Shader effector can give you the values of a texture or shader in conjunction with the position depending on the projection method. In Xpresso you can get these information. Combined with light you have a wonderful option to fill your space with Light information. This Tutorial is based on an idea from the manual. |
Dr. Sassi | Sep 05 2006 | 15:07 | 425 |
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Xpresso_101_16_Logic
XP_101_16_Logic On silent paws I have created the Bool, Enable and the Condition already, so you will have no problems to go finally to the complete LOGIC package in Xpresso. With some little thoughts about how it shrinks to nearly only two nodes that you need to finally explore. I have done this to have more space for the major tutorial, the Compare node. This one is huge and has a lot of potential. So I hope this one will deliver the right amount of that ‘dry’ but useful stuff. |
Dr. Sassi | Sep 01 2006 | 14:05 | 184 |
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Xpresso_101_12_Enable
XP_101_12_Enable This is part two (part one was Boole) to manage your scene you can animate the enable function or take some values and create a situation where you have a condition. |
Dr. Sassi | Sep 01 2006 | 08:51 | 199 |
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Xpresso_101_18_ASCII
XP_101_18_ASCII To get data from “outside” into xpresso, to create your own business graphic for broadcasting or a news-show, you can use a special trick and store the information into the points of an empty polygon object for example. That this information can go then into the text spline or in an cylinder or whatever is not that difficult. |
Dr. Sassi | Sep 01 2006 | 13:54 | 191 |
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Xpresso_101_17_Noise
XP_101_17_Noise Noise… is it the queen of the shaders inside of the Xpresso? It is noise that can be used for complete 3D space and you can request any value for every position, and animate in a nice way too. |
Dr. Sassi | Sep 01 2006 | 17:23 | 210 |
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