Welcome back, everyone, to 3-D modeling The Hobbit Dossena with Lenno two point nine and Adobe Photoshop.
So this is where we left off and you can see at the moment the standard material that comes in is called
a principled B, C, D, E, F.
So every time you bring the material in this is what Blando will try and bring it.
And this basically is a super node.
That's what I classify as anything else.
While a lot of people call it because basically you've got so many plug ins to this, you can change
the metalic, the roughness.
Everything is within this actual material node.
So that is why it brings in a standard and that is why it's so useful.
So now what we need to do is we need to move this material out just a little bit over here.
So let's pull it over here like so with electric and drag.
Now, the other thing that you really want to do, just to make things a little bit easier, is to bring
in the actual node ringlet.
It's another item within Blender and I'll put it down the bomb run side here.
It's only a little bit while that's about not to bring that and we're going to go back to any preferences.
Ledlow Dot com to Adam's click the X and let's bring node and a node wrangler on click refresh to close
it down.
Now let's bring in our first node and that's going to be a column.
So if I press a search and I'm going to bring collar so Sheol and you'll see one that's called Kalorama,
let's bring that now.
Let's plug this column into metalic.
So I'm going to plug this into the metalic, which is here.
So I'm going to pull this off a little bit just so you can see a little bit more what I'm doing.
And I'm also going to put this onto eBay, render it.
Which should be this one here.
Let's just make sure it is on TV.
I'm just making sure I'm going to double the just to get that off so I can see what I'm doing.
And yeah, the actual song I can see is Shine on here.
I've got some shading on here.
And the other thing I want to do is I just want to make sure ambient occlusion is also on.
And you can see when I take on it really emphasizes the actual shadows.
So it makes a little bit easier to actually see what we're actually doing.
OK, so now that Solt said, let's zoom in a little bit more and then what we've got here is the metallic
plugged in at the moment.
Let's actually change the bass color.
So if I change this, for instance, pull this down, you can see it goes much darker.
So this is actually the bass color of this and this metallic.
We're going to change in a minute just to make it a little bit more shiny because it's a little bit
too old for actual mouth.
OK, so now let's work on the roughness.
So we've done the color, which is the bass color.
We've done the metallic what we've plugged into a node ready to actually sell.
So now let's work on the roughness we're going to bring in is a noise texture.
So and I and you'll see one that's called noise texture.
Let's put that in there and we're going to plug the color into all roughness.
Now, what this does is it basically creates a lot of noise within this actual texture.
So if I go in now and I put this on something like two hundred and seventy five, for instance, you
can see now that we've got a lot of noise on there, really giving us a lot of kind of dirt and things
like that.
And this because it is the roughness actually interacts with the actual light.
So as I turn around, you can see some are in a bit darker and lighter and it's a bit like glass.
When you look at glass, it's not actually perfectly See-Through.
You love smearing on, you love little bits of you, maybe have some scratches, things like that.
And that's exactly what we're trying to do here.
OK, so let's now put the detail up to something like 14.
Let's try that.
Let's make it a little bit less emphasis on that.
We don't want to do dark after all.
And then let's turn this up to something like nought point six five.
Something like that should be absolutely fine.
All right.
So now let's work on our normal map just to bring this out a little bit.
So I'm going to do is I'm going to come over to this point here.
I want to press a.
I'm going to press T X and I want to bring in a texture Cordner, and this is basically how you can
apply our first procedural material based on the movie.
So we don't want them all and now we want to base it on the movie.
In other words, tell Blendr where to actually apply this procedural material.
So we need something else as well and we need to make it.
So let's bring in that shift a bringing a map in.
So about that, and then what we need to do is need to connect the vector, because the vector is basically
where the position is.
So we grab the Jouvet, plug it into the vector, and that's got to go.
Now, let's bring in another texture, noise, texture, and we'll bring in a verrone.
So we'll click here, shift a search the oh Verrone texture.
Let's bring that in.
And then again, we're going to plug the vector into the vector of the verrone and now wants color and
a color on basically can emphasize colors.
It can emphasize how much which bumpiness you've got within the material, things like that.
Rhum isn't just the color.
So let's bring in a color.
So we shipped a search color from let's drop that in there.
And then what we're going to do is we're going to grab our color and put it into the fact of the actual
color.
Now, let's grab the principled move over a little bit.
And what we're going to bring in now is a bump shift, a search view and pay.
Let's bring that in, pull down there and then let's bring the color from the color ramp into the height
of the bump.
And then what we'll do is we'll bring the normal and plug that into that light.
So let that load up.
Now, you can say we've got all these little ridges on there, not exactly what we want, what we all
get in that.
So now how do we change this?
Well, the one thing we can do or the main thing we can do is change the Verrone texture first, because
that is the thing that says how big or small these kind of noises are.
So let's zoom in a little bit and change the scale of this to something like five thousand.
And now you can see we've got a lot more actual bumpiness on there.
And that's exactly what we're looking for.
I'm kind of trying to go with the look of when you've got led lead like leaded windows.
That's the kind of look we need a lot of bumpiness.
So now what we need to do is we need to come and bring the strength down so you can see over here and
I'll bump as I bring this down.
You'll see now that you get smooth it all, it gets a little more bumpy.
And you can see now this is the kind of look we're actually going for on this I'm really, really happy
with already.
Now, the other thing is you can use the ramp, as you can see, as a kind of ability to really ramp
it up or make it smoother.
So in other words, what it does is because you go around here, if I zoom in a little bit, these parts
that fly here, we can actually dictate how let's just drag it across, as you can see now how bumpy
that actually is.
We've got a lot of control, a lot more control than just the strength.
So the strength will do everything, whereas the column will really start to make them less big, as
you can say, or more be whichever you choose.
So I'm going to bring that and I'm going to bring this one down just a little bit like so.
All right.
So that I'm really happy with.
Now, the last of all, we need to actually mess around with the actual metallic.
So as you can see, if I bring this up, I can make this more metallic.
And that is what the look I'm going for.
So you can see that we've got bits that are more metallic bits, a less metallic based on or actual
roughness, which is basically a noise texture so that I'm actually really happy with.
The last thing is you might want to mess around with your base color so you can bring this up, make
it darker or lighter.
So at the moment, I think maybe that's a little bit too dark.
So let's bring it back just a little bit like so.
All right.
So I'm actually really happy with and what I'll do is I'll actually pull this down now and we can actually
split their salt.
So on the next lesson, then what we'll start to do is work on our actual glass within the bell.
That's your first procedural material finished.
I hope you enjoyed it and I hope you learned a lot.
And I'll see you on the next.
Nicole, thanks a lot.
Bye bye.