Welcome to this lesson where we will finish the Bones character by adding some texture to the surface
of his bones with something called displacement maps, we've learned about bump maps and a previous
lesson that doesn't displace the actual geometry.
But in this case, we want to learn about a map that will add geometry at render time.
So it'll keep us from having to have very dense geometry in the scene, because if we go up here and
we go to display.
Heads up display, let me just tear this off and we can turn on Polli count and you'll get this little
box up here of numbers and you can see that we have one hundred and sixty thousand one hundred and twenty
eight faces.
And this is kind of the number you want to look at when you're calculating how dense is my geometry.
And we have one hundred and sixty thousand and you can get up to several millions of faces worth of
faces when you have a very dense piece of geometry, like a high resolution character for film and TV.
So to reduce the amount of faces which slows down the machine and slows down the render time, we can
actually add geometry at render time and all that detail render time so we don't have to actually manage
it and use it and see it in this scene, because if we start animating this with several millions worth
of polygons, it's going to be very, very slow and the animators will not like to do that.
And which is usually if you're a one man studio, that's yourself.
So let's figure out how we can add some detail without adding any polygons in our scene.
OK, so let's first add the Qader, so everything has the same kind of bone color to it, so I'm going
to select everything.
Just by clicking and dragging and then control shift clicking, because remember, if you if I was the
shift, select this, it will deselected or select it.
And to add it for sure, I want to control shifts like so it'll always be adding.
So now we have all that selected.
Let's right click and add a new material and we'll make a standard surface like we've done before.
And then the color will just color pick this color here.
So I'm going to go to color, choose the picker and pick this color.
Now everything should be the same color as our bone am.
I look a little different here and we can adjust that later depending on how accurate the picture was,
but that'll get us pretty close for now.
So we have the shader.
Let's open up the Hypercharged and take a look at it.
So I'll select one of the bones and I'll click this little button to map it out.
And it's pretty basic.
There's nothing coming in yet like textures or procedural textures.
But take a look at this group.
Every shader has a group once it's applied to a material sorry, once it's applied to a piece of geometry.
And check out these two here and what we're going to be concerned with is it displacement shader?
So let's let's take a look at what that actually means.
But first, let's just get the shader in a good spot because it has all the default values.
So let's turn on the Arnold render view.
You hit play and again, you'll see that we need a light in the scene.
So let's go to Arnold.
Let's go to lights now.
Let's create a physical sky.
I want to click the dome light here and scroll down to the camera option and let's turn that the zero
so that the actual visibility of the Sky Dome will not be visible in the render.
We can test that here to show you the difference.
So I'll go back to Arnold's interview and hit play.
Now we can actually see our model.
And if I crank up this camera now, you can begin to see the horizon and it's not really useful.
So let's just turn it off.
So the first thing you can see here is the fact that the reflections are very sharp.
So let's turn up the roughness of the reflections.
And to do that, we go into the standard surface and let's rename this to Bone.
And let's turn up the roughest of the specular.
So if you'll notice, the head is still has the Lambert that we use to do the three paintings, so we'll
also need to apply this shader to it that we've been making here.
But let's do it after the fact that we figured out all of these values so that we can just duplicate
it out and apply it with that texture.
So we have this material, this material and looking kind of bony has somewhat a shiniest, but it's
also a rougher surface.
So the specular highlights are not super sharp.
So it's at a decent spot.
And let's just evaluate the color here as well.
Let's first get this material on the head and make a determination if we need to change the color.
So I'll go to the bone and I'll say edit duplicate shading network.
Now I'm just going to middle mouse drag this after I rename it to Bone Head and I'm taking a middle
mouse.
Drag this on the skull like go may or may not apply.
If it's being finicky then you can right click down here with it.
Select insists on material to viewport selection.
OK, now you can see got rid of our texture, but we can go into our textures tab here and we can see
that we have a file one, a reference file and let's just see what these are.
So the reference files from modeling that we use to model the character and the file, one is actually
our head shape color.
This is our if we right.
Click on it here.
We can see the sample that is our head.
So with the bonehead material selected here, let me just map these out.
By clicking the rearranged graph button here and we can see them a little better, click the bonehead
and its middle mouse, drag this file one onto the color.
So real quickly, you can see that the color still isn't accurate between the texture and the shader.
That doesn't have a texture.
It's just a regular shader.
But we're trying to match these two in color.
Picking didn't work.
So let me show you one other way to to go about matching color here between textures.
Let's open up the UV editor, the editor, and I'm just going to dock the tool kit here.
And select the head so that we have the texture and our viewport of the tool kit.
Let's go to the Qader for that head and I'm just going to go to color of any of these and choose a picture.
Now, if I hover over this, you can see I'm getting numbers here of one point eight five and point
six five.
So really, all we need to remember is point eight five and point six five.
OK, so let's close this out and escape and let's select the bone material here.
And to get to different types of values here, we can choose this and the numbers we were getting in
were in RGB zero to one point zero.
So we can enter these in here.
And have the same color as the texture.
So now you can see if we go to the Arnold interview that these two should be matching now.
I'm going to turn on the 3-D manipulation so I can move around in the viewport of the render view,
so now these two are matching.
Let's give them some displacement detail and learn about displacement.
So I'm going to zoom in here.
And I'm going to open up the Hypercharged.
I'm going to dock the interview here.
Inside the hyper shade, so they can work on the material and see the render happen in real time here,
so we have the bone selected, let's map it out and let's map in a fractal into the displacement shader
so we know they're in the 2D textures and fractal.
So.
Let's move these so they're organized a little bit and just input the color and the displacement shader
and see what happens now, it blows everything up and we need to adjust this.
So let's open up the fractal here.
And see it and the, uh, the appropriate aspirator on the side, right click and we can see it's just
the default kind of things here.
Basically what's happening is on a scale of zero to one or black and white, the displacement of Shater
is determining should it push vertices out or in.
And in this case, it looks like it's pushing them mostly out by quite a lot so we can adjust the color
gain to reduce that amount of everything being displaced.
And you can see it's kind of all coming down now.
Because what we want is just something subtle on the surface, right, so we don't want everything to
be.
Displaced out a large distance, we just wanted to be very subtle just on the surface, but the problem
we're contending with is that there's not a ton of geometry to move here if we look at the actual geometry
that makes up this bone.
It's not many vertices, right, so we need to figure out how to add geometry, render time.
So to do that, let's go into the Arnold tab here of this bone shape and let's scroll down and look
at subdivision currently set to none.
Let's set it to Cat Clark.
And that was just named after the type of math mortician, I believe, that figured this out.
So as we turn that on, you can already see it has more detail.
So let's go to none.
And you can see there's no detail here.
And let me just isolate this with the isolated region tool so that it updates maybe a little quicker.
So you see there's no detail.
Now we turn on Cat Clark and look what happens.
We immediately get more detail.
And let me just turn up the color gain here so you can see the difference a little more, obviously.
So it is displacing it, but it's not very accurate, it's just a big block.
So let's go back into the subdivision here by clicking on the piece of geometry and go into that Clark.
You can see how much more detail is being added here because there's more geometry.
Well, you can still see that it's kind of tearing here.
And what we can do is increase the iterations even a couple of times.
So now look at how much more detail there is.
And that's actually pretty good, we might need to add a fourth.
But three might be enough, it depends on how accurate you want this to get.
Let's go back to the fractal shader here and just turn down the gain of this quite a bit.
So now you can see we're adding a ton of realism at render time and we don't have to have millions of
polygons, so you can just dial this in.
Depending on how much displacement texture that you want, so when you get close to this thing, it'll
have a little bit of texture to the surface and it will actually, unlike a bump map, it's actually
displacing the silhouette.
So if we're getting close here, we can see the silhouette is not around all the way around.
And how this is used in modeling is typically out of a sculpting.
This is a more intermediate type of thing to know, but out of a sculpting software.
This is what's used to add a ton of detail like pores and things that are very fine level, even at
a big level like scales or something like that.
Displacement, displacement, mass will be increasingly important as you learn more about 3D.
So what's left is to turn on this feature for every piece of geometry.
But there's one way we can do that a lot quicker than having to click each piece as we've done, go
to its shape tab, go to Arnold, go down here, click Kat Clark and go to four iterations, which maybe
I'm going to just change to three for now.
So let's select all of the go.
And let's go to the Windows Journal editors.
Attribute spreadsheet.
So now we have the spreadsheet open, let's go up to the Arnol tab and let's scroll over.
To where we can see the subdivision, so look right here, we can see a subdivision type and I subdivide
iterations so it looks the same here, subdivision type, subdivision iterations.
So it's this data just in a spreadsheet format and why this is important, because we can click one
scroll to the bottom shift, click and type in Cat Clark and enter.
So now we've turned it on for all of them and we can also turn the iterations to three.
So I'm just going to click the bottom one, click the top one and type in three and hit enter.
So now you can see for the one that we had last selected over here, it's done all of that.
So we've done it for every piece of geometry.
So if we turn on the Arnold reinterview again, then hit play, we can see that the ringer view does
take a little more time to render it all.
So it's something to consider when you're doing this, that it will increase the render time.
But if you zoom in here, you'll be able to see a lot more detail.
And if you've given your geometry the right kind of moves, the detail will be pretty similar across
everything and consistent.
So if we take a look at the phase, we can see that we haven't applied it yet to that.
So let's open that up.
Open the hybrid.
Let's map that out.
Let's also map it out with this bone, some just shifts, selecting these and then clicking the end
and output's here.
And you can see that we don't see the fractal here, so we actually need to map the groups.
So let's map the groups out now we get the fractal.
So let's just drag this fractal out color into the displacement group shader of the bone as well, the
bone head.
So now when we do that, you can see this is updating.
And it's adding a lot more detail to the head.
The last thing you might want to do at this model is just add a piece of geometry here so that the light
doesn't go all the way through the nostril, so that this is actually just black.
So let's grab a piece of geometry.
And what it's actually we're seeing, it looks like, is this bone coming through.
So we could there's a couple different ways we could resolve that.
Let's take a piece of geometry.
Just a plain.
Let's bring it up.
And will place it to block this piece.
We can also put a Latisse on it to help to form it and get it out of the way, but I think this is probably
going to be the quickest thing for us to do.
Just increase that and going to shifts like the head and parent to the head by heading.
So wherever the head goes, that will go with it.
And we need to add a new type of shader here that is kind of a utility type of a thing to fix issues
like this.
Let's open up the Arnold render view so you can see what we're about to do.
And the hypercharged.
And let's right click and say, add new material and let's choose a surface shader, and this is a Miah
shader, so it's click surface shader and the default colors blacks, that should be fine.
But what a surface shader does is it has no reflections and nothing else pretty much.
So we know it'll be totally black there.
Let's turn on the Arnold our interview preview button here by hitting play and take a look at that now.
So it looks like what this is actually showing up as is the light coming down into the skull from this
direction.
So it's not just this little piece of skull, but it's the entire back cavity here.
So what we can do instead?
Is.
Place this in front of the eyes so that light doesn't go into the skull and it depends on however you
want to resolve it for yourself, but this is just one way to make sure no light gets in here and that
what we're actually seeing is going to be all black, if that's what you're going for.
So in this lesson, we learned about displacement maps using the displacement shader for Arnold and
what surface shaders are and how to apply the subdivision's at render time, this is kind of an advanced
topic, but it is very, very important, very useful for any modeler.
If you get into more advanced modeling techniques, you will use displacement maps.
So it's very useful to know where that resides for the Arnold tab and for using the spreadsheet Ed,
so that you can edit multiple pieces of geometry at once.
So you're not having to select each one and go through and turn that on for each one so that that's
it for the Bones section here, we're going to take a little look at lights and some rendering and I
will see in the next lesson.
Thanks for watching.