Blender Shading | Ben Traje Notes

General

Nice motivated spotlight. gobo. cookie cutters. I animated this in 18 days… in Blender
view transform false color (for trouble shooting)
https://di3d.cl/portfolio-item/compilation-and-study-of-non-photorealistic-npr-techniques-in-blender/
non color vs raw. omostly non color
remove alphatransparency
shader to rgb is only for Eeve
I’m sure you figured it out by now, but it took me a while to find the right answer…so for anyone else: I used the Principled volume node At first it is also dark, but take a look at the Emission Strength and Color Parameters…the dark fogs shall lighten up for you!
CCO Textures
Shift + K. fill for vertex painting
Set vertex colors
triplanar map = no node. just in image texture. blend textures.
Ctrl + T = Node Wrangle
Shift + W Node Wrangle options
Alt + RMB = Alt + LMB (in C4D) Cut nodes
lazy connect nodes
Therefore, Blender uses a few rules to determine if something is a UDIM texture or a sequence. These rules are:
1. There must be a file with number 1001
2. There must not be a file with a number below 1001
3. There must not be a file with a number above 1999
Shift + S = swap nodes
Enabled Multiple Important Sample. on the World Setting.
Honestly, for this I would just use a mix of a Transmission shader and a Glossy shader. But if you want to use a Principled shader:
Set the base color to #FFFFFF, so you don’t have darkened glass. (Unless you want darkened glass, of course.)
Set the Transmission to 1 and the Transmission Roughness to 0.
Set the Specular to 0, you don’t need it.
Set the Metallic to 0.2 or so. This will control how strong the reflections are; you should probably adjust it to fit your specific light source.
Set the IOR to 1.0, since you’re making a cabinet—refraction will just slow things down.
mix two noise texutre. one with high and other with low frequency.
how to tile a texture without repetition blender file
4D noise/seed value
pepakura/export paper model
multiply density of the smoke by the noise texture, plug to the density to the volume absorption
sellect loop inner region for fill section sleection
to sphere function > Iron tool (Not really)
in painting skin. using the normals as if lit from above. (change to black and white) to determine proper shading. .danny mac. how to [poly paint a head.
The third point is relevant here, because the 2001 file is preventing Blender from loading the texture as UDIM. According to the UDIM “spec”, that file would correspond to the 101st row and 1st column, which I guess is not what you want. If you remove that file or rename it to 1011 (which it should be based on the UVs as far as I can see), it will work.
Maybe this can help. Different software use different ways of dealing with UDIM names. Maybe it would be important to support all 3 systems as you never know where stuff may come from. This is from Maya.
0-based (Zbrush) - select this option if your UV co-ordinates start at 0. Some applications, for example, Zbrush, number the UV tiles with the lower left UV co-ordinate. That is, a UV tile [0,0]x(1,1) would use u0_v0 in its file name.
1-based (Mudbox) - select this option if your UV co-ordinates start at 1
Some applications, for example Mudbox, number the UV tiles with the upper right UV co-ordinate. That is, a UV tile [0,0]x(1,1) would use u1_v1 in its file name.
2-UDIM (Mari) - select this option if your UV co-ordinates are represented as a four-digit number using the formula 1000+(u+1+v*10)
3-Explicit Tiles - select this option to load each tile separately and enter the U and V values explicitly. For each tile, enter the values of the lower-left UV co-ordinate that the texture corresponds to.
I believe Substance Painter used the Mari naming convention.
dicing rate wood
sapling tree gen
Two further things to consider when dealing with Cryptomatte in Cycles:
1. Render 32-bit full float. 16-bit half will give messed up results
2. Don’t use a lossy compression like e.g. DWAA because it’ll also garble up the Cryptomatte info
Press V to separate vertices in Blender
when creating new textures. be sure it is set to tiled for udim purposes.
1. same in the shading. image texture node. change single image to tiled.
airplane blades. repeat offset to save from motion blur
transform node blender . Visibility > shadow catcher
view layer global position pass.
material override
ctrl mousewheel to scrool to different values
Ctrl +/I expande/shrink selection (or Ctrl ++ —)
Ctrl+L to select the whole island/connected object
select loop. double click
using data transfer modifier to transfer UVs with different vertex count. you can specify vertex group to have different algorithm on each faces
move uv from viewpoubt 3d.
The only lamp able to create volumetric effects is the Spot lamp (even though you might consider some of the “Sky & Atmosphere” effects of the Sun lamp as volumetric as well).
udim slots are not being filled in blender. manually do it on the texture editor. something do it twice.
C:\Users\BT\AppData\Roaming\Blender Foundation\Blender\2.91\scripts\startup\MSPlugin

Denoising

Here is a nice explanation video by IBN-Blender 3d Artwork here.
From what I understood:
Open Image Denoise and NLM are two sorts of denoising modes. OID is faster and doesn’t need a high sampling rate, it is ideal for animation. NLM is slower and needs a higher sampling rate, it is ideal for single image.
You can use OID either through the Render panel or through the Compositor. The second solution gives better results.
For the first solution, enable OID through Properties panel > Render > Sampling > Denoising > Render.
For the second solution, make sure you’ve deactivated any denoising in the Render panel, then go into Properties panel > View Layers > Passes > Data, and activate Denoising Data, it will create all the necessary output sockets in the Compositor Render Layers node.
Now open the Compositor, create a Filter > Denoise node, plug the Nosiy Image, Albedo and Normal output sockets of the Render Layers node into the Denoise, plug Denoise into the Output and Viewer nodes.

Dusk

So I know three ways of creating dusk in Blender, but none of these is really what I want

create an Object and give it the volume-scatter material. There you can lower the densety until it gets a nice foggy feel. Unfortunately, the only result I get is stuff like this
Create A volume scatter node in the world node editor and plug it into volume. There I get pretty much the same thing, but over my whole scene. Still not right ..
Add Volumetric Fog in the composer AFTER the rendering. But this is kind a complicated to be honest. You need to figure out the exact numbers for the volume density and render over and over again. I gave up on using this technique because it was too complicated to be practical in my eyes
To get well defined shafts of light, try to keep the light size as small as possible. Point or Spot sources work the best for this effect (if you choose to use a sun lamp, then don’t use volume scattering in the world, and use a mesh as volume scattering domain).
The effects of Volumetric lighting are more visible when bright light beams are in front of dark areas of a scene, and are less visible when the background is bright. Also, Volume scattering works best with back lighting (when the light is behind the objects in the scene) and side lighting, like the image posted on the question or any of these reference images.

Ref

For Gold: The colors I used are #FFFFC0 and #FFE0A0.
For Copper: If you want a nice copper, try #FFC080 and #FFA060

The Glass BSDF shader in Cycles should work pretty well. Change the IOR: value (index of refraction) to 1.333, and you should get perfectly clear water. If your looking for a murky type look, use a Mix Shader to mix the Glass BSDF with a Diffuse BSDF.

Non realistic Glass but fast

![blender_glass_window_setup 1]blender_glass_window_setup%201.jpg)

!Pasted image 20240917012253(Pasted%20image%2020240917012253.png)