- In this video we're going to take a look at converting the materials used for the flower to octane materials. So the first thing we want to do is just select the flower and then locate the hierarchy for that in the object manager. Then we're going to copy that and we can paste it into a new scene. So there we go, we have the flower in our new scene. Now, to get this prepared for working with, we want to start by replacing all the materials on the object with octane materials. So we will create a new octane material and then we will hold down Ctrl+Alt, which will leave a copy of the original material and allow us to overwrite whatever we are placing this on. Now, for the centers, main, and the stem will create duplicates and we'll also create a duplicate of the main petal. This way we can just reference back to these materials. So then we'll continue replacing these materials here with the octane materials and we can just double check to make sure that all those are applied correctly and it looks like everything is okay there with our assignments. Next, we'll go to the octane live viewer and we can open that up and then start view live your recession. We'll want to add in a simple daylight here and then rotate that just so that we are getting a little bit of light variation and let's change the angle so that what we have is a preview that includes a little bit of the flower in shadow and some of it in light and this is going to help us figure out the brightness of the emissions on the leaves here. Okay, so at this point, we can start actually constructing the materials. So we're going to just start with the petal material. We will open up the material editor and then open up the node editor. Now, we start with the basic diffuse and we're not going to add in any glossy effects or anything for this particular material. So this is going to be all we need. We'll start by adding in the image texture and this is going to be one of the petal materials. So we have the main petal 1, main petal 2, and then the inner petals as well. So let's start with the main petal 1 and we don't need to copy that into the location and we could just connect that to the diffuse channel and be essentially good to go. But if we take a look at the original material here, we have a little bit of luminance and that is using our main petal as well and this does have a specular on it, but again, we're just going to ignore that, and then finally a simple bump. So in our octane material we need to create a texture emission. To do this, again we just go to our texture emission node, and we connect that to the emission input in the material, and then we can connect our texture to that to drive the emission. Now, if we go to the emission, we can reduce the power and you'll see that that is going to make it so that we're just getting the color contribution. We can also turn off the daylight to see exactly what the emissive material is creating without any contribution from the direct light. Now what we'd like to do is modulate the illumination on the petals and we can do that simply by doing some color operations on the image texture. So start with a simple color correction. And with this, we're going to bring the saturation down to zero and then we want to adjust the gamma so that we're really getting the details out of the specific material. But we still want the actual emission to be colored. So in this case, we want to use a multiply node. This way, we can multiply the original image texture over top of the color correction and then reconnect that to our texture. This is going to give us a lot more definition in the actual emitted light that's coming out of this. We can then increase the power of that to suit our needs. Now, the last thing we want to do here is set up another level of modulation on the emission. So rather than just have it be consistent throughout, we want the illumination to be darker towards the base and then get brighter as we go out. So to do this, we can use a gradient and this is going to be a little bit different than the gradient that we used before. If we just plug the gradient itself into the texture, nothing is going to happen. So we need to select the gradient node and then click on Linear and this is going to add in everything that we need to get a linear gradient. It's not going to update in the node editor, so what we need to do is just select the material that we're currently working on and then choose Get Active Material and that's just going to update the node editor with the extra nodes that were added to create the gradient and this is using a sine wave as well as a transform node that is applying this. Now, we want to take the transform node and use the rotation values here to rotate this sine wave around and let's just go with a rotation of -90. You can see this is setting up the gradient in the wrong direction, so we'll simply go to our gradient node and then invert the knots and then we can use the color knots here to adjust the value of this. And so we really just want to find a nice gradient in between these. Now, one thing that may be distracting is the amount of the texture emission. So if we want to get a better view of the gradient we can actually just connect it to the diffuse, disconnect the texture emission, and re-enable the daylight and now we will see a pretty clear view of what is being created for us by the gradient here. And again, the actual knots that you have inside of here don't affect the gradient at all. It's only the larger color knots that will change the way that the gradient blends together. So we want to get something that's darker towards the base and then lighter towards the tip. Once we're happy with that, we can multiply that over top of our initial texture. So we'll add in the multiply node and then we can check out the final diffuse that we're looking at. And if we like that, we'll connect that back to our texture emission and reconnect the emission itself. We'll then take the original texture and connect that to the diffuse and we can turn off the lights here just to see what we're getting from the actual emission and then adjust the power to suit. Once we're happy with that, we can then hold down Ctrl+Option and copy this over to the other octane materials for the petals. And so these are all using the same material right now so we just want to update the materials in the node editor. So we'll select the main petal 2, get the active material, find our texture, and then set this to main petal 2 and we'll do the same thing with the inner petals here. So select one of the inner petals, we'll get the active material, choose our image texture, and then select the inner petal 1. And then select the texture for inner petal 2, get the active material, and update this to be the inner petal 2. Okay, at this point, we can move on to the next material. So the next material that we're going to create is the material for the center or the stamen. So will select the center main material and then click on get active material. This will bring this into view for us. Now for this one, we're going to use a black body emission and connect this to the emission input of the material. Now, the black body emission is going to use a color temperature. If we reduce the power of this a little bit, you'll see that we start with a white sort of color and this is just based on the camera. If we lower the temperature, we're going to get orange colors and if we raise this we can get blue colors. So this is something that resembles how a color temperature in real life works. Now we want to set this to something that is going to give us a nice orange color. We can also overlay a texture on this to get some of the texture from the original Cinema 4D material. So if we take a look here in the color channel, it is using a gradient. So we're just going to copy this gradient, and then add in a gradient node in octane, and then we can simply paste this so that we get the color distribution and then we're going to create a linear gradient out of this. Now, nothing will update for the linear gradient so we just need to select the center main and then get the active material again and it helps if we grab the correct center main so get active material. And you'll see sometimes if you don't have nodes to link together, it will drop those out of your project. So let's just do that again. We can paste the gradient in there, and let's just connect that to the diffuse channel, and then set up the linear gradient, and then get the active material again so that we get all of the newly added nodes. Now, if we want to take a look at just the gradient itself, let's go ahead and turn the daylight back on and we can zoom in to the view here just so that we can clearly see which direction the gradient is applied in. Now you can see this is going around the stamen in the incorrect direction. We want it to go from top to bottom. So we're going to select the transform node and let's just try typing in 90 degrees and we can also try -90 and we just want to see that we are getting the gradient going from the purple all the way into the yellow areas. Once we are happy with the way that the gradient is applied, we can go ahead and reconnect that to the texture of our black body emission and then set that to the emission there. Once we have that set, we will go back and just re-adjust the power for the illumination on that so that we get the look that we're going for. Now, one quick thing to note here is when we increase the power, you'll see that you start getting noise that appears on some of the petals. And this is because of the sampling coming off of this material. Now, this is getting ahead of ourselves, but the sampling here, to get rid of the noise, you need to increase the number of samples and you can do this globally or in the case of the emission nodes, you have the option of setting a sampling rate. So if we set this to something higher like 1024, it's going to add in more sampling for any of the emissive materials that are using this node and you'll see that we get better conversions on this. It's still a little bit bright. So really, in this case, we can get away with something like 512 and then just reduce the power on the material so that we get something that we like. We can then turn off the daylights for a preview of how this looks in a completely dark environment. The final material that we're going to create is the stem material. So let's start by selecting this stem material in the material manager and then click on Get Active Material. Now, we're going to go ahead and turn the daylight back on so that we can clearly see the stem as we're working on it and we can go from here. Now, the original stem material is using Cinema 4D noises. So we can see that there is one here and there's also one in the bump channel and there's probably a few more hidden in here as well. Now, with octane, you are able to use the Cinema 4D noises. So we can add in a noise texture here and connect that to the diffuse. At this point, we can go in and start editing the attributes of the diffuse material and everything looks like it is as should be. But what's happening here is octane is actually converting the noise material into a 2D image and then applying that to your object. This means that if we quickly open up the Octane settings, there is an option here for the Cinema 4D shaders and actually let's just increase the contrast on this so you can see the resolution how that breaks down when we get close to this material. Now, this is because of this shader attribute here. So if we set this to something like 1024 and then resend the scene to the render it's going to reconvert this noise at a higher resolution. Now, you'll notice that this takes a little bit longer for the project to update. Well, it is converting the texture. But once it does, we can see that we get a higher resolution on the final noise that's on the flower. Now, to avoid this sort of conversion process, which is also going to use up memory on your GPU, you can use one of the noise materials that comes with Octane. So we'll just delete the node there, and then we will add a octane noise, and connect that to the diffuse. You'll see that by using the octane noise we get much faster refresh on the texture itself. Now, we can start adjusting things like the gamma as well as the contrast to try and get something closer to the noise pattern that we want. In this case, we want something that is fairly large and covers kind of patches of the actual stem for our electricity that's going to be moving along this. So to change the size of the noise, we need to use a transform node. So start by going to the Transform Node. We can drag that in and connect that to the transform input for the noise. We're then going to use the scale attributes to scale the noise up and you'll see that as we do that, it's going to increase the size of the noise on the object. Next, we want to have a bit more control over the actual contrast in here and rather than trying to use the options in the noise itself, we can simply add in a gradient node. And then we can adjust the gradients to control the clipping essentially on this material. So now we can have just these parts that are white being emissive and everything that's black just being in a regular shader. We also want this to be modulated by the angle of the surface to the camera. So we can use a falloff for that and let's just connect the falloff to the diffuse and edit the look of the falloff here. So we really just want something that's focused on the outside edges. So we will adjust the attributes to try and achieve that. If we want a little bit of luminance on the parts that are facing, we can also change the normal value. Once we're happy with that, we can multiply these two together. So multiply the gradient and the falloff and then check those in the diffuse channel. So now we can see that we get a little bit of a hint of the noise on the outside edges. So if we're happy with that, then we go to our texture emission, we plug this into the texture, and we drop this on to the emission node. We'll then reduce the power on here, so that it's not as bright and if we want we can check out how that looks in the dark here. And if we want this to have some color, we can add in another gradient on this. And this one, we're going to leave black as is just because that's going to be no effect and then the white we're going to set this to a bluish sort of color just to represent sort of like an electricity or some sort of energy running through there. Now if we turn the daylight back on, we'll see that the actual texture of the object itself hasn't really been defined at all. So we'll use just a simple noise here and we'll drop that into the diffuse channel and that's going to give us a little bit of variation and then this noise can also be shared with the bump. Now, the last thing that we want to do with this material is we want to add in some subsurface scattering so that we can see a little bit of the interaction between the stem and any of the lights in the scene. So in this case, we'll go to the stem material and then to the transmission tab and set the transmission so that it is white. Now this isn't going to have a lot of effect until we switch to our path tracer at which point we can see the proper contribution from the transmission tab. With this setup, we can then go in and create our scattering medium. So we'll connect that to the medium there and then we will add in the RGB spectrum nodes and connect that to the absorption and to the scattering. Next, we can go to the scattering medium and we can adjust the density. So higher densities will reduce the effect and lower densities will let more light in. This can also be controlled with the RGB spectrums. So if we start by reducing the color for the scattering itself, we can add in a little bit of variation there and then for the absorption so that we get a little bit of a blue hue, and then we can go back to the medium and increase the density on this until we get the effect that we're looking for. Now, there is one thing to note here and that is the leaves that are coming up on the sides of the stem. These do not have a material applied. So let's just take a quick look at that before we move on. So if we go to the flower UI, we can scroll through the hierarchy here and we're looking for the leaves. In this case, we have leaf A, leaf C, and leaf B. If we take a look at the material tags on all of these, they are using a selection. So when we bring this back into our main project, we'll want to locate these texture tags and then remove the selection so that we get a proper result. So we're going to select the octane materials that we have created here and then we will copy these and paste those back into our main project. And then we want to go through and replace the materials. So we'll hold down the Alt/Option key and then drag the stem material over the stem. The inner petal 2 will go over inner petal 2, inner petal 1, the main petal 2, and then we forgot to rename this, but we can just go in here and drag it over the main petal 1 and then the center main. Next, we want to go back into our hierarchy here and locate those leaves. So we have our three material or three texture tags with the leaves here and we'll remove the selection just so that those aren't limited to anything and apply properly. So at this point, we have converted all of the materials and we're ready to start setting up the rest of the scene. As always, it's a good idea to save your project before you continue on.