Architectural Visualization with C4D and Octane: Shading the Lamp, Part 2

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Instructor Brandon Clements

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  • Duration: 12:47
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  • Made with Release: 18
  • Works with Release: 18 and greater

In part 2, we will begin to talk about fully translucent shaders using the specular model inside of Octane Render.



Welcome back once again. And in this video, we're actually going to take a look at how to create and simulate these kind of glass parts on this lamp. All right, so let's go ahead and get to it. I'm just going to go and zoom in a little bit here so we can see this nice. And I'm going to send it back to Octane. And let's look at this first material that I have lined up for us once this loads. So, this first material is going to be just a simple chrome material, so let's just put this to black in the Diffuse. We don't need the Diffuse Channel. We'll come down and maybe add a little bit of roughness and then come to the index and then just kind of crank this up so that we can kind of get a chrome type of reflection. I believe this chrome is the actual holder right here for the lamp, for the bulb, I mean. So we're not going to be able to see that very much. So we can go ahead and just keep moving along. We don't need to add too much detail to that. The bulb holder is basically just going to be a plastic, so I have a little bit of roughness, my Specular is up, and the index... Let's just go ahead and put this up like 1.5. Again, this is something that's going to be incredibly eliminated so we can't see that material so well. The next material is just going to be a brass. So I'm going to go ahead and eliminate the diffuse. Make sure our specular is set to a brass type of color. So what I'm going to do is actually use the color picker and choose a brass type of color from my secondary monitor over here. I just basically went over to Google and searched a brass-type of color. Okay, so that will do for our purposes. We'll go down to the index and we'll crank this up a little bit. Let's just go ahead and put it all the way up to 8, and then our roughness, we'll put this at like 0.15 or so. So looks like I was mistaking the light bulb holder. This kind of wire is going to be brass and then the support has a little bit of chrome on it. So both of these materials are going to be very hard for us to actually see. Okay. So this brings us to a glass-type of material and I believe the glass material is going to be on the top part of the genie lamp. So, if we look in the roughness, what I've done is added a texture that I have that's basically just a simple dirt texture. And then I am adding these float values that are very, very low, okay? And that's going to give us a little bit of kind of dirt on our glass. The reason why these are so incredibly low is that if I even put this to 0.1, it begins to fog up and create a lot of noise within our glass. So, I'm just going to put that back down to really low and then you can see you don't need an incredible number to have this effect be really noticeable. So we're going to come down to the index. We're going to put that at 1.55, and that's basically the index number for glass. And then also on the transmission, we're pretty much using the same kind of node. We've adjusted a little bit to 0.6 and 1. So, remember, in that transmission slot, 1, is going to let light through and 0.6 is going to, basically, kind of inhibit the light from passing through as easily. Okay. So that makes our dirt show up even more. So, I'm just going to copy this and kind of show you the before and after. There it is, a little bit before. And then if I add it back, you can see that just brings up a little bit more detail for the glass. Moving right along, we are going to look at this gold. Moving right along, we are going to work on this gold. So, let's go ahead and take this to black so that is not actually affecting and we're going to come into the Specular and we're going to change the color to a gold tint. And then we're going to crank up our index number. So, we can, basically, tweak this index number to our liking to get this kind of gold-look. You don't always have to bring this index all the way up to eight. So, anything above four is going to look pretty metallic. So, let's go ahead and just leave our index at six, so we have a really strong finale reflection effect. What I would like to do is just go into the roughness and we're going to add an image texture and let me go ahead and load this up. And this is just going to kind of give us a better metallic look and I'm going to go ahead and switch this to Float. And we can come in here and actually clamp this texture so that we get exactly what we want. So, let's try 0.15...sorry, 0.15 and 0.5. Let's see what that leaves us with. We can kind of increase this just a little bit more. So that's the kind of subtle effect that I want to go for. I don't want it to be incredibly strong. We can also kind of move this kind of range down and clamp it so that we have a more metallic gold. But we're still getting some interesting looks here. So if we zoom in just a little bit more. And again, we can use our render region. We can add a little bit of variation there. And that looks pretty good. Just something that adds a little bit more interest, and you can kind of see on the sides it's brushed. The reason why it looks like that is because of the projection that I have is just cubic and I've fit this to be like very, very thin. So I just came in here into the Texture mode and then enabled the axis by just hitting L, and use my Scale tool, and then scaled it down so I could have this kind of repeating lines here on the model. So that's looking pretty nice. So the next thing, let's go ahead and work on this kind of base part. And if we just look at this material, it's right here. Let's kind of go into our Polygon mode and just select that again. Let's deselect it in the viewport. And then say Select Polygon. So it's just the actual base here. So we're going to make this metallic. And you can see here in the viewport that's metallic. I already have this set to around 0.15. Very rarely do I have the roughness at a perfect zero. I always have some kind of micro surface detail, so having it at 0.5 is going to give me a little bit of that. And let's bump this up to say five. Let's actually bumped that up a little bit higher. Now it gives us a kind of metallic look. Okay. So this leaves us with our last shader here. We're going to do something pretty interesting with this one. We're basically going to try to have this center part be bright blue and then have the edges be kind of darker blue. So we kind of get this interesting effect as we look towards the center. There's something I really want to point out, and something that we had talked about in the last video was thickness means a lot to getting glass reflections and translucency to look very believable. So I have a cloth surface, and you can get the cloth surface by up to Simulate Cloth, Cloth Surface. And I have it set to 0.01. I'm just going to take this whole lamp lades and place it underneath of the cloth surface and then turn that on. And then, immediately, you can see that this is starting to actually look like real glass. So, the reason why that looks so real, you can think of it in real world-terms, glass has thickness. It's not just one single flat plane. So that light ray needs to actually trace and refract through two different layers of a mesh and then actually exit that mesh through the other side. So now our glass on the top part is looking really nice. And we can kind of focus on this middle layer here. And it's also applied to this cube here on the bottom. The same thing with this cube, it's looking kind of weird so what I'm going to do is just Ctrl+drag that cloth surface and delete our extra lamp layers and put that underneath the base as well. And there you can see the base is looking way better and we actually get some thickness inside of here so it's looking really, really nice. All right. So the first thing we're going to do, we're going to not touch our roughness, for right now. Let's come down to the transmission. And this is the easiest kind of thing to do because this is going to be like the overall color as it's coming in. So if we just kind of tweak this to a blue, then our overall look is going to be blue. Okay. So let's pull out that saturation a little bit. And the value range here is going to determine how much light actually gets through that surface. So you can see as I pull that up and down, it's going to change. And just for our speed's sake, let's just have that region render on. So let's turn that all the way up. We're going to save that color. And we're actually going to use an Octane shader. We're going to use the falloff node, the falloff map, and we're going to mix our falloff map so we're going to put a mix texture. And we'll just clear this. Oops, sorry. We want this falloff map to be the amount slot and then we can actually mix that by RGB values. So we're going to use RGB spectrum in the top and the bottom. So let's grab the color that we saved. And it's kind of hard to see but if we increase some of these settings here, so, like, if we pull this down, you can see that blue is kind of showing up on the edges and you can see it here in the preview as well. Okay. So let's put this at like one and then we're going to come up to the RGB spectrum here. Let's grab that same color, and then we'll just kind of kind of decrease it in the HSV in that V value. So it kind of gets dark in the middle. We actually wanted that to be the reverse. So what we can do is just pull this down. And then we still have this color saved in our palette. If you find a color that you like from the HSV or RGB, you can basically just pull this in here and just drop it and it'll save it for you. Okay. So that's looking really interesting. What we can also do is add a color correction node on top of this and then we can actually brighten it up. So we can kind of find exactly what looks interesting to us. And we kind of get this like greenish color in the middle here and I find that that looks really, really interesting. Okay. So the last thing I would like to do is just kind of mess with the gold a little bit. If we come into the Specular, let's kind of pull the saturation down some more. And I think that is actually just a little bit too much. Let's just put it at like 40. And then the roughness, I want to bring that all the way down to zero and then have this down lower so that we get a little bit more reflection. And then, let's also bring this up as well. One other thing I'd like to mention is that the cloth surface does have a subdivision turned on. So if you're in your viewport and you hit N, B, you can actually go to the wire shading and you can see when you turn that on and off, it's adding a little bit more subdivision to it so it's getting a little bit smoother. Okay. So I think that will wrap this video up. Thanks a lot for following along. I think the specular materials look really awesome inside our Octane. They render very fast, and they're always very sharp and crisp the way you look at them. And remember to have a two-sided mesh so that the light rays coming through look very accurate and photo-real. So, thanks a lot guys, and we'll see you in the next one.
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