In this lesson, I want to finish up the Ghostbuster trap, so let's take a look at where we are at
right now with the Arnold interview.
I'll play so we can preview the render here.
And you can see that I've gone and ahead and done some textures for these other panels as well with
the same method we've learned about.
You can see this one is maybe too dark here.
So let's take a look at that one real quick and refine that.
I'll open up the attribute editor and first delete the history here.
And also, I'd like to say to save often when you're doing these render previews, Mike and Crash,
it's not uncommon for it to crash here.
So scroll down to the color balance.
And if you remember, we have these Alpha Gane sliders and we actually go past two, which is where
the slider wants to go to now, split hit three and then just keep driving this up until I kind of get
that contrast that I like to see between the rust and the metal.
So I'll drag that up maybe a little bit more and then spin around and see where the reflection is kind
of similar between these panels, because I don't want them to be too different.
OK, so the next thing I want to do is attack this kind of black metal here.
This fractal that we used in one of the first lessons is pretty obviously a fractal and you want to
avoid that type of texturing.
So let's click this and get into the surface here.
Let's go to the roughness as we get to the fractal.
And let's first go into the texture and actually increase the coverage.
So you can see there's this one big piece here.
So scale all this down.
So it's a lot more coverage and all of these areas here so we can cheat that by going into the place
2D texture and actually repeat the UVs more than one time.
So let's go five.
We could actually, you know, stretch it and make it look streaky.
But in this case, I want to keep it even and maybe even go further into maybe eight and eight.
And then now we have that.
Let's go back into the fractal and adjust the texture here by bringing down the amplitude so that it's
a lot more subtle of an effect.
So it's not like these big chunks every once in a while, but.
And of course, scroll around if you can tell this is taking a minute to update.
The other thing that we have at our disposal here is this crop region so we can click and drag just
our region here so that it will update a much quicker.
So now we can see as we rotate around the fractals working pretty good.
Maybe it's still a little strong here.
So if we don't want to bring down the amplitude, we can always go to the color balance balance and
adjust the alpha gain here as well.
So that's working pretty good, we can also increase the offset.
So that everything comes down with it.
Let's see, let's just turn all the way off here and increase the alpha gain and try to find a happy
medium here, maybe it's the amplitude that to kind of even this out, bringing this back down and bringing
some of their reflection back.
So I'm just adjusting these, you know, it's not a perfect science.
And you really have to kind of train your eye because it's easy once you're making these tiny little
tweaks to get lulled into a sense of it looking good.
So I like to kind of go at the extremes, kind of push it and see if I'm really actually doing any good.
If this is actually going in the direction I wanted to go.
So I think something like that was probably going to be good.
Um, we can always adjust that later.
But the other thing I'd like to do is add that same fractal, because we've already put all this work.
I want to have to create entirely new fractal for this shader.
So I'm going to save this real quick and click this and delete the history so we can get into the surface
here and open up the hypercharged as well, so we can actually map this out much quicker.
What this load up and then click this little button here, so we get the object that we have selected,
we can get that all mapped out.
The other thing I want to do is so let's click both of these some shifts, selecting over here in the
viewport so I can select both of these at the same time and get both of them pulled up.
So now that we have the fractal here, we can just pipe this in.
And I'm just going to turn this off for now because I've had it crash earlier on me when I was trying
to update.
When you're putting in new textures, sometimes it doesn't like that.
I'm going to actually let me zoom in here so you can see this, because I'm not sure how small your
you're watching it on.
Basically, what I'm doing is I'm taking the same situation we have here out Alpha, going into the
specular roughness that we've been messing with on the black metal.
And I'm just going to pipe that into the specular roughness on the ramp of the doors here so that we
can kind of take advantage of the work we've already done.
So when I open up the Arnold interview again, hit play and now you can see we have that to our advantage
here.
Now we can use both of them and.
It's looking pretty good.
The other thing we can do is add a bump map to this.
So let's go into the Shater.
I'm just clicking that when I close in the Hypercharged and let's create a bump map.
Let's go to geometry and let's click that and go to you know what?
Let's actually use the same thing that we've done.
Let's open up the Hypercharged again and just kind of use this ramp to our advantage again.
So let's click this and map it out.
And let's duplicate this ramp, and if I copy paste, it will work pretty well and now I have a duplicate
that I can adjust a little bit.
So if you remember earlier, we have a linear interpolation.
There's no fuzziness here.
And if we pipe that in as a bump map, it's going to look pretty wonky.
So we're going to adjust the ramp and that's why we're duplicating it now.
So with the A.I. Standard selected, let's click bump map and let's just choose file so we get all that
mapped in here properly and we can we don't want the file, so we just delete that.
We just clicked file just so it maps this node here for us.
So let's take the ramp and input the bump value of the Alpha into the bump value.
And if we take a look at this, we can't really see much happening yet.
And let's just turn on the crop here and let's go to the ramp itself.
And we actually click this little button here and get a bigger view of it.
Let's open this up.
And before we change the interpretation, which we can do here, let's just add some anchor points here
so that the colors will stay the same.
So I'm just clicking in the middle here and just kind of going through so that there's a point on either
end.
There's a black to black and then yellow to yellow.
And that way it'll kind of hold up these lines when we change the interpolation.
So just trying to drag these kind of close to their partners here.
And that looks like it's going to be pretty good.
Now if we change the interpolation to maybe Lynnae or something like that, we can see now there's this
bump right here because you can see where this is fading out.
Now, we can change this to something else and we can see how this changes the bump map here on the
ramp.
So it looks like this actually has some separation now, kind of get down at an angle like this, we
can kind of see that it looks like these are two separate levels here and we get that just it's cheating
it even though this is one piece of geometry, this really shows the power of bump maps.
So we can kind of add some dimensionality to these doors without having to do, you know, any more
modeling or anything like that.
We can do it in the texture's.
So just keep that in mind as you're working that that's a possibility and it looks like it's a little
too strong.
So let's bring up the hypercharged go to the bump here.
And now we can adjust the bump depth, maybe bring that down to point five, maybe even point one.
We just want something subtle to.
Kind of separate these colors out might be not strong enough, so I think that's working pretty good.
I always like to look at it from different angles to make sure it's working OK.
The other thing we can do with these the ramp and especially in this bump, let's get to an angle or
we can kind of see this effect happening.
I'm going to try to zoom in here as much as I can.
So you can see it on your screen.
Let's go into the ramp and we actually have noise here, so if I start with the noise, you can see
there's these really big waves here and we want very small waves.
So we want to increase the frequency.
So let's just crank this up.
And you can see there's way more waves here, but it's still not high enough.
So let's we can type in our own values.
And now you can see it's starting to look a lot more noisy there.
But we just want just a little bit of it to come through on those edges so that they're not totally
straight.
So check that out.
Now, we had like a little noise to this separation here to make it look even more organic and just
kind of keep dialing that in to make it look, you know, a little rougher here.
So when we're doing that procedurally, you know, we're not having to go back into Photoshop.
We're not having to do anything like that.
We can just update this as we want to inside of Maya.
And that's, you know, the power of procedural texturing.
So in the next lesson, let's take a look at lighting this thing.
And a more interesting way, one of the last things I'm going to do is continue to add shaders to these
gray pieces here.
These are basically going to be read versions of this shader we've already made here.
So you could duplicate out these shaders and then just change the color to red type that in.
And then you could even do some of your own texturing with 3D paint.
And you can see how far we've come.
If you remember from the beginning, our model looked pretty similar to this chrome ball here.
The reflections on here were very chrome like.
So just quickly, I just want to show you, you know, of course, The Presets, which we've already
looked at, but I just want to drive that home that it's a good place to start.
If I sign a new material, go to Arnold Qader, Standard Surface and.
Wait for it to pop up and I'm just going to call this rubber.
And use the preset here and go down to rubber and go over to a place that's just off the screen there,
so it's a really quick starting point for us.
It's maybe a little too bright.
The color isn't dark enough, so let's just dial that down.
And then, of course, we can add procedural textures to it and make it a little rough and whatnot.
But I'm probably going to use that same shader on the little nubs here, the little cylinders, they
go around this and then I'm probably gonna use the metal shader on the inside pieces here and these
disks and make maybe a new one for the screw here.
But yeah, this is pretty much it.
We've basically done a pretty good job of shading this entire piece and it looks, you know, pretty
decent.
If this is your first thing ever shading and Maya and 3-D, you should be pretty proud if you've gotten
this far.
And one trick real quick that I wanted to show you is say I want to play a texture just to this piece
here and not the kind of rubber nubs around the outside.
If I click this, because these are children of this, if you remember in the modeling where we parented
all of these to this so that they all rotate together, it's hard to select this thing.
You know, we're going to if we.
Right.
Click and start assigning any shaders is going to silence everything.
Well, one easy way to go about selecting just that kind of parent piece that's controlling everything
is to press down on your keyboard.
And now we just have that piece.
So now you can separate your selections if you like.
So I'll just finish this up with the red pieces here and the other rubber shaders being applied.
And in the next lesson, we're going to learn about lighting this thing with a little bit of fog.
Thanks for watching.