Architectural Visualization with C4D and Octane: Shading the Orange Juice

Photo of Brandon Clements

Instructor Brandon Clements

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  • Duration: 10:37
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  • Made with Release: 18
  • Works with Release: 18 and greater

In this video, we will use the orange juice as an example of a material that is semi-translucent but also has a scattering quality to the shader.



In this video, we're going to take a look at how to create some really awesome subsurface scattering effects with this pitcher and the orange juice inside of it. So let's go ahead and create a new shader. We're going to create a new Octane material and we're going to rename this material "Pitcher Glass Material." And we're going to change this to a specular. And the only thing we're going to do here is just change this to 1.55, which is a glass refractive index and we're going to just add this to the pitcher, and our main concentration here is just trying to get the orange juice in the subsurface scattering to look really nice. So I'm going to ahead and throw that into Octane. So since I have the pitcher being the parent of the orange juice, the OJ mesh is going to get the Pitcher Glass Mat automatically from that parent. One thing we hadn't talk about was the Fake Shadows Attribute. So if I go and turn on Fake Shadows, what that's going to allow us to do is not spend so much computation on the rays coming through in the color that's going to be in their shadow. So having the fake shadows, it will just cut down on the computation for the light rays coming through. And one thing to note when you're actually dealing with multiple surfaces and glass actually coming through in this path tracing kernel, I had this set at eight. So if I put it back down to eight, you're going to see that this is going to get very dark in here. So you're going to have to have enough specular depth in your final render to actually trace through all of those layers of refractive material. Even up here on the top where this lip is actually bent over, you're going to have to have a lot of samples to get all the way through that and for that black to be diminished. So if we look at 30, you can still see that it pops up. But just note that that has to be pretty high in order to trace everything out of there. All right. So let's go ahead and move on to the orange juice. So we're going to do something a little more advanced for this. We're going to actually use two different types of materials in a mix material. So I'll name this first one "Orange Juice Spec Mat." And let's go ahead and apply it to this mesh called OJ. And we're going to switch this to Specular. And we're going to change the transmission to something of an orange juice type of color. So it's going to the transmission. And I have one here that's saved that I kind of just sampled online, something that looks relatively close to orange juice. Now if we look at a picture here, this is just something that I got from Google, depending on the way that you're viewing the orange juice and the glass that's setting in and how it's photographed, it's going to look a little different from picture to picture, okay? So it has this orange, yellow kind of tint to it. But what's so interesting about it is that there's a lot of subsurface scattering that's happening. So subsurface scattering is really just the particles that are inside of the actual juice so when the light actually comes in, it goes through the glass and then it hits these small particles and the light ray just kind of scatter everywhere, and that's why you kind of get this kind of fogged look to the orange juice, much like milk, it has the same kind of thing. There's a million particles, just so many particles inside of the juice that the light rays are bouncing off of and it gives you this kind of translucent look, okay? So we're going to be able to use subsurface scattering to get that. So let's go down to Medium and we're going to C4D Octane and we're going to go to Scattering Medium. And the first thing I would like to do real quick is just add a white absorption into the RGB Spectrum and then let's copy that down to scattering. And we're going to sample this kind of color from the image that I had just shown you. Just get it nice and bright. And from here, we're just going to adjust the density. So absorption is basically how fast the light is being absorbed into the material. So when the setting is actually at zero or is black, it means there's absolutely no absorption and when it's white or it's one, it means the light is being absorbed very quickly. So the scattering parameter with RGB Spectrum, right now I have the value all the way set to 100. So this is, again, it's controlling how fast the light is actually being scattered inside of the material. So a value that is higher than zero, it means that it's going to have a forward scattering. So with those larger values, what that means is that the way the light was actually travelling in it's going to pass through the exact same direction. So with a value of one, it means it didn't change direction at all. And even with the negative value, that means it's going to have some back scattering. So the light is scattered back where it actually came from. So to illustrate this, let's just go ahead and add a Float Texture into here. And if we go ahead and turn this all the way up to one, you can see that it scatters and it comes basically all the way through. The light direction doesn't really change at all. And as we bring it down really low, it kind of scatters all over and it doesn't come through as fast. Okay. So let's go back to the RGB Spectrum. Instead of using just a simple color here, I would like to actually change the color across the actual mesh. So I'm going to go ahead and I have an image texture that I'm going to use for this part, and you can see that the image texture actually has a little bit a different color on the top here. And let's go ahead and we're going to change the densities to something like 0.02 and we're going to come into the roughness and we're actually going to increase this quite a bit. Let's try 0.1 or so. And like I said before, this value can really go a long way. So now it looks like the light rays are really scattering a lot, hitting those particles inside and bouncing all over. And just to illustrate, let's go back to the medium. And I just want to show you, as we increase the density, our material is going to look thicker. It's going to look heavier. So it's a lot harder for those light rays to actually pass all the through it. So, again, we can do something low, 0.2, 0.02, will kind of give us a look that we're after. Okay. So I would like to use this texture again as kind of the main color, but I want to be able to mix the look that we have here with the texture from the forward facing. So what we can do is actually use a falloff map and mix that together. So let's just go ahead and we're going to duplicate this material just by holing Ctrl and clicking and dragging. And let's change this one. It's not going to be the spec model, it's going to be diffuse. And let's go ahead and change it to diffuse and let's use that image here inside of the texture slot. So everything else is the same. We have this medium, we have the transmission. The roughness is still 0.1. And we have this texture here. So let's go ahead and create a mix material. Let's name this "Orange Juice Mix Mat" and let's go ahead and we're going to click and drag this into the respective slots. We're going to change this to a falloff map. And I always get this wrong so let's go ahead and switch it. You can see the material preview isn't exactly what we want. We want to be able to see the texture on the front forward-facing angle and then at the sides, we're going to have this spec kind of come through. So let's change our skew factor to something maybe like one, and then let's go ahead and throw this on our material. Okay. So I spun the camera around and what I'd like to do is go into the Transmission and just kind of push this a little bit more towards orange for the diffuse. And as I do that, you can see that this is going to get a lot deeper here in that transmission slot. So maybe not so much. Let's kind of push it this way a little bit more towards yellow and we'll keep doing that maybe to, oh no, 47 until we get where we want. And this Transmission is working with the actual Diffuse channel to create this look here. So we just want that to feel very deep and have that different color there in that middle part. So just looking at some more reference. Let's go back to the Transmission and just kind of push that even further. And then, again, I'm in the density of the Diffuse and you can see as I'm messing with this, we're getting some different look. So as I pull it down further, we're going to get a lot more this kind of yellow gold color on the edges as I pull this up. It's going to feel a lot heavier and the fluid is going to fill a lot more dense. So let's try to find a good spot in between, maybe say 0.5. And the great thing about Octane is that we can kind of just rotate around this and we can see how this is looking from all angles. So from the back portion as the light is coming and hitting this, it's going to be very yellow and it's going to be very golden and bright as it's kind of pouring through. But as we kind of zoom out and see it as the light hits it, it has this kind of deeper orange to it. Thanks a lot, guys. We have another video in this series that is going to deal with candles. So if you didn't quite catch on to how the subsurface scattering node is working inside Octane, we're going to take another look at it with the candles. And I really think with that example, it will really click for you, and you'll be able to use it in your projects very effectively. So, thanks so much and we'll see you in the next one.
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