I am not a huge fan of working with procedural materials in Arnold. You can do it, but I have found the hypershade menu to be prone to crashing. Which is why I prefer to work with substance painter and UV maps when I am working with objects in Maya.
You can right click on the layer that you want to apply the generator to, and at the bottom there should be a tab that says generator. Then it will be in your layer properties menu. As for getting more generators, you really cant, but you can adjust them and change the types of grunge maps they are using.
@@matthewdesaart For some reason I don't have a generators tab in the shelf and none show up when trying to add one in layer properties. I've found that just adding a new layer with the desired material and a Smart Mask works basically the same. I've done some more research and I think you can create generators in Substance Designer. Thanks for the tutorial and reply!
I would like to express my gratitude for the fantastic tutorial. Despite encountering some challenges, I found that they were beneficial as they allowed me to develop my own methods and learn numerous valuable tips and tricks. I have some suggestions for your future RU-vid tutorials. It would be helpful to include a tool that displays the keys being pressed on the screen during the tutorial. It would also be beneficial if you could clearly verbalize which bone or object you are selecting. In case you forget to mention it while recording, you can always add it during the editing process. Thank you for generously sharing your knowledge with us. I am pleased to report that I successfully modeled and rigged the ball and its tail. Once I have gained more experience with keyframes and graphs, I plan to add eyes and a mouth.
Thanks for the advice, I tend to jump ahead of myself or assume too much of the people following along when I do some of these sorts of things. I used to have a plugin that let me show the keys being pressed, with the new update I have added that to my addons, so new videos will have that. And I am glad you were able to make the ball and tail rig!
you say what bone you select instead you say this should be connected and we can't see which bone you are connecting to which bone which is very confusing. another problem is that placing the ball very far means too much zoom out and we can't see the names of the bone or the bone you select.
Great tutorial Could we had more controls on the eyes to express more feelings like anger, pain etc ? a little bit like this robot eyes : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-LspjI7lsjW0.html
can you please tell me how you got the fingers to seperate, i saw that you extruded individual faces then scaled it down. When i try that it stays connected
Sure! When you go to extrude, press alt + e and you will get an extrusion menu. Select extrude individual faces and it will separate out the faces. Hope that helps!
@@keanuvanwyk6755 if you did that then the next step would be to make sure that you change your transformation pivot point. By default blender has it set to median point, you can switch it to individual origins and scale it from the faces. To change it you will see a symbol at the top that looks like two circles with a dot between them. Click on that and it will give you a drop down. Just change it to individual origins
@@keanuvanwyk6755 you can symmetrize your armature in edit mode. But blender only allows you to do an x axis symmetry. You need to name your bones with a .R or .L example: ARM.L or ARM.R blender will automatically rename the new bones. To symmetrize you need to select the bones you want to make symmetrical and go up to armature and go down to symmetrize
Your welcome and thank you for watching! You could potentially separate the mesh from the outline mesh, subdivide it and add noisy displacement map at a low value to the outline mesh. That way the only object getting the noise is the outline material.
Issues I've encountered with Maya 2023 and how I handled them: 1) In case you select the vertices as Matthew has done at 3:20 ish and you can't select the cylinder via Viewport, do it via Outliner holding the CTRL key. This also works when extruding a cylinder along a curve to make pipes for example. 2) If your mesh looks like it's snapping into itself during the animation at level 2 of self colliding scale as Matthew did, it's probably because your mesh is smaller than his mesh and so the world scale threats it differently, resulting in self-comp. . Consider messing around with this value until you don't get the desired result without it compenetrating into itself. 3) If you've set your animation framerate to 24FPS but your animation still is faster than 24FPS, it's because you've set it to "play every frame" in the Animation Preferences tab. You can find it at the very bottom right corner, under the "go to End of the animation" button. Switch to 24FPS x1 to get 24FPS framerate, however you can set it to whatever you want. Many thanks Matthew for sharing your skills with us!
I kind of am, it's more that I am working with an unfamiliar program. I used to do my work in Maya until I just couldn't deal with Autodesk anymore. I switched to blender a long time ago so I typically do this stuff in blender. Working in Maya is a little odd for me sometimes, and it is a trial remembering how Maya handles certain things. 😅
In my work I often need to render furniture placed in white backgrounds. However, sometimes these pieces of funiture cast very dark shadows onto the plane. What do I need to change in this workflow in order to maintain the white ground plane, whilst still being able to alter the opacity of the shadow?
If you want to keep a white background you can always add another layer and render that on its own, you just have to make sure you also have that setup as the shadow catcher in your shadow layer and have it setup as bounced lighting only in your base layer. That way you get the bounced lighting of the white background on you main object and you have a plane to catch the shadows from the lights in your scene. Plus, you can always change the darkness of your shadow render, by either turning down the opacity in photoshop or any other photo editing software. What I found works fairly well is doing a hue and value shift to adjust colors and overall darkness of the shadows.
Not entirely sure when to use either, however I found that cryptomat tends to be more for masking in blender and becomes redundant when exporting to another program, if you are exporting with alpha information already saved into the image.
Hello, i have used your tutorial on the new instance of the maya project, and just cube and sadly i am unable to get same effect- my cube is just black so i presume it is not possible to see the "inside" shape but outline shape is visible only. Im using maya25 and following each step along with you on the simple cube and yet im not getting same results which is bizarre. Would you have maybe any idea why is that so? My backface culling is off as well.
Thanks for the tutorial! It worked fine for me. I'm working on an animation and want to get this effect within the first few frames. Is there anyway to do that rather than waiting for the simulation to run?
You can change the frame that the simulation starts at, so instead of starting at frame 1 you can have it start at frame -50 or whatever you need. But to get the shapes that you want out of it you have to let the simulation play out, there really isn't a way to skip the simulation calculation phase.
Great job. Thank you. in the past with more complicated shapes, I've gotten erratic results with the "Thickness" option in the extrusion set. I switched to "Local TranslationZ" to create the "thickness." For example the thickness of the stomach wall. Will this provide the duplicate needed to create your outline effect?
As long as you duplicated the object first and then used extrude it should still work. The differences between the "local translation Z" and the "thickness" option are which normals the operation is using I believe the "Thickness" option has to do with the vertex normal orientation, and the "local translation Z" has to do with the face normals orientation. It could be switched but I am unsure. Either way as long as you created the duplicated object for your new material it should work fine. The reason I deleted the interior faces of the duplicated object was to reduce any Z fighting that may occur during a render.
Getting the focal length of your lens is meaningless unless you know the sensor size. That's why setting it to 4mm made it zoom way out, because with a 35mm sensor size (blender default) a 4mm lens is a super super wide angle. If you just set the sensor size to match your focal length that's not matching the information from the photo, it's just making it up.
@@matthewdesaart motorola g7 focal length is 27mm on FF ... web is full information on sensor size ... you have to just google it ... setting sensor size to 4 is just misleading
i cant do the part on 4.50. for some reason if i scale the bar down on frame 60, the bar also gets smaller on frame 1. basically i can only animate movement, not scale. does anyone know what i might be doing wrong?
It still doesn't produce the most accurate shadow. The shadow catcher result you get is just B/W shadow, while the actual shadow is colored. They added new "Shadow Catcher" pass that proudce colored shadows but it does not work correctly with external compositing either. It only works in Blender's Compositor with "Alpha Over" node. All in all Blender does not have proper tools to save out shadow/reflection for correct VFX or compositing in Photoshop. There is aonother channell that did proper compositing workflow with a violine and it's a lot of workaround steps, pure nightmare. Blender just lacking as always, just like it lacks proper Caustics. They just introduced Light Linking thank goodness! But hey, it's free, what can we do.
I agree, blenders compositing tools are pretty rough, and their passes aren't the most accurate. But, I have never been one to do much compositing anyway. To deal with the poor quality of the shadows, I typically lower the opacity of my shadows or change them to an off grey in post, so that I can use the layer functions to capture color. It isn't perfect but it gets the job done for most cases.
