In this lesson, we're going to take the knowledge that we've learned so far and put it to use to add
some more details of the Ghostbuster trap.
We take a look at the Arnold Run interview.
We can see that the brush metal that we made is pretty standard.
It's pretty clean.
There's no rough marks on it.
And it looks like this Ghostbuster trap has never been used to actually catch ghosts.
So let's add a little more detail to this brush metal.
We're going to do that by adding a new shader to this with using a 3D paint as a mask.
So let's first create the 3-D paint.
So let's open up the Hypercharged so we can keep track of what we're doing here.
I'm clicking the little hypercharged button up here that should pop open and we can see our brush metal
here and we have to.
So if you remember, we made one for this panel and then these two have different kinds.
So if we click this little button here, we can map it out and see that it's the original brushed metal.
So let's leave that up and let's also create a Lambert.
And any time we're in the Hypercharged, we we can create new materials and, you know, they're not
applied to anything yet.
So we still have to apply them.
But let's select the object and we can either middle mouse drag it and let go over on top of it, or
we can right mouse click and go to assign material to a viewport selection.
And when we let go, it'll be assigned.
And the reason why we're doing this right now is because we're going to do some three painting like
we did in the previous lesson.
But of course, it only works on the Miah shader, so we need to apply my shader before we do it.
So let's click the three paint tool and we need to, of course, assign the texture to it.
And for KS, fine and JPEG is OK.
So now we can start painting.
Let's first flooded with a color, let's go to a white color and we'll just flood that paint and then
let's do a black because we're going to create a mask.
So we want black and white values.
Basically that's all we need.
We don't need any color.
And we're going to take a look at this section here.
We can click the folder and it should go right to your brush shapes folder.
And if we can preview them, we can see there's all these different types of kind of stencils that we
could be using.
So we're going to use this for the to create a mask here so that when we paint, it looks a little more
organic.
So this is a new kind of part to this same tool that we're getting familiar with.
So I've got black, I've got the paint turned on.
We've assigned the thing.
So now I can start painting.
And what I'm looking to do is add rust to certain areas.
And right now this black area is going to reveal a new shape that we're going to make with a mix shader.
So let's take a second and paint some rust where we want rust on this panel.
So now that we have where we want the rest to show we can save this texture out like we did previously
by clicking the save texture button, and now that we have that texture, we can reapply the material
from the hyper shade and we can do a lot of work from the shade itself now.
So let's bring that brush medal in the original material that we had.
Let's get a to focus in on everything that's we have so we currently have this texture that we just
created, we can see that because it's a part of the Lambert.
If we map out the Lambert, we can see that there is a texture going into the color.
So we see our color color.
So we know that this is the actual file.
If we click on it and go to the OR we can actually see that right clicking here and we can see it populate
in the sample area here.
So now we know this is the file that we want, but we want it to apply on the brush metal, but not
necessarily to the brush metal.
We want to mix in a different shader.
So let's go about making that rust shader first.
So let's apply a new shader that's going to be our rush shader.
We'll go assign new material and we'll go down to the Arnold shaders and pick a standard surface.
So it's going to bring it in here in the hypothecate as well.
And we can just map this out and let's first create the color that we want.
Let's make it like a brown type of a color.
And now let's open up the Arnold Render review so we can see the changes that we're making in real time
that play on the play button here so we can see we kind of pretty basic, Qadar.
It's just a brown shader and we want to add some bump to it.
So let's create a bump map by clicking the checker box and go to the noise tab.
And if we zoom in, we can kind of see there's some noise starting to happen.
But it's really big.
It's really spread out.
So let's go into the bump itself and increase the ratio.
And let's increase the frequency ratio as well, and as we do that, you can see a change here so we
can right click and get a sample and we'll have to refresh that more as we update it.
So I'm just reducing the amplitude so that it's all kind of evenly noise distributed here.
And it's looking pretty good so far, but it looks like we might have gone too strong on the noise potentially.
Let's go back into the bump map and change that to point five.
So that reduces it down a little bit.
And it might also be the reflections are throwing us off.
So let's go back.
I'm just clicking these buttons to go in and out of the shader.
We could also click the different parts of it from the hyper shade to navigate around.
So I'm going back to the shader here and let's take a look at the specular.
Let's increase the roughness, because if we think about rust, rust is pretty rough.
So now that's looking a lot better.
And we could even apply a fractal to this rust if we wanted.
But for right now, let's just leave it as it is and we can come back to it if we'd like.
So we have the rust and we have the bump map here that gives it some texture.
Let's maybe increase that just a little bit.
So how do we combine the two shaders, we have this Shater and we have that Shater, so there's a new
node called the mixed node and if we type in EHI, it'll bring up all the Arnold shaders.
And if we type in A.I.M., it'll bring up the I mix shader here.
You can also get to it just from going into the shader options and just kind of scrolling down on Arnold
here.
So if we scroll down, we can see Amik shader.
So now let's apply this to the object.
I'll select it and.
Right.
Click and say.
And right click and say assigned material to viewport selection, and you can see it's just kind of
black because there's nothing going into it.
If we look at the shader here and that be.
Ed, it's asking for two Qader should or one or two.
And the mix wait is at point five, which means it's going to blend between these two shaders, but
they're currently empty, so we need to fill them.
So we have the standard surface here, which we're going to call the rust.
So it's labeled rust.
And let's select the mix, Qader and a middle mouse drag the rust into Qader one and now you can see
it's back to how he had it.
So let's bring in the brush metal.
We have the brush metal up here somewhere.
Or maybe we got rid of it so that we can just bring it in here.
Brush metal.
We can just minimize, drag it from there and let go.
So now it's just mixing 50/50 so we can drag this and see it go from one to the other.
But if you remember, we have that texture, so let's use it.
We painted it here.
So let's middle mouse drag the texture into the mix weight.
And as soon as we do that.
We should get a change here and not a lot happened, so let's look at why that might be.
First, it could be because we swapped our values white for black, but also it could be because the
blacks aren't black enough that we painted.
So let's if you remember from a previous lesson, the alpha is luminance is really important, because
if you look at what's actually getting piped in here to the mix, it is the let's let's organize this
a little bit better.
You can click this rearranged button to kind of sort everything out a little bit better, so it's this
little arrow button here.
So now so now we can get a better look at what's going into the mix.
We can see it's the alpha that's actually going into the mix.
And if you remember from previous lesson, the Alpha, there is no alpha here.
It's just black and white.
So we need to tell it that the black and white value is the alpha.
Or we could just map in one of the three channels here.
So if we do that, we can just kind of circumvent the alpha thing.
And now we can see the painting that we did is revealing the rust shader beneath it.
So, again, the advantage of using the Alpha is that we have these alpha color balance sliders here
so that if we choose Alpha is luminance, we get back to the same result that we just had.
If we were just piping in one of the red, green or blue channels.
So now that it's alpha, we can increase this or decrease this with the alpha gain and the alpha offset.
So that's pretty helpful.
But let's say maybe this doesn't go far enough and we want it to affect it even more.
We could add a color, correct note.
We can click on the shader here under Arnold and get to the color.
Correct note.
If we click that, it'll load it in and we can just pipe in the alpha from this
image into the color correct node and now the alpha into the mix.
So we're just kind of putting this in the middle of that stream there.
So now it has to go through the color correct node so that now with the color correct node, we have
all these different options.
Now, we could change the gamma.
Which if we piped in the Red Channel, this would be red, this would be green, this would be blue.
So this would be a way if we did pipe in the Red Channel that we could actually affect that.
And so we can increase the alpha gain or alpha offset here as well.
So that's another level of adjustment that we could have.
So that's how you add more detail and realism with the mix shader.
Thanks for watching and I'll see you in the next lesson.