Ohhhh, that´s amazing to hear! Thank you so much for your positive feedback, means a lot to me 🙌 Comments such as this make the whole tutorial business worth pursuing 💪
The only in depth video regarding cycles and glass shader. Hope this to be the start for in depth shaders in cycles and rendering in Blender. Thanks a lot🍸
Thank you very much. I did not research before if there are other good glass materials available to be honest. So I am glad to hear that 🙌 Thank you so much for your support ✨🍸🍹🍸✨
@@SilverwingVFX to put it right; there are no resources regarding depth shading techniques in the entire Blender community until now that you stepped in.
Thank you very much. At some point they changed the settings. I can still remember using Cycles in Blender 2.9. I think Filter Glossy was not a think back then!
that's awesome content, man. Please, if you can, do more Blender videos. There's a lot of misunderstandings on youtube. I'd also like to ask if you can explain the part where you put fresnel on the object in 17:17! Thanks a lot!
Thank you very much. Appreciate your nice comment. I guess you mean "bad workflows" when you are talking about misunderstandings? Also thank you for your vote on the Fresnel part. I might do a video on this. Cheers and a great start into the week to you!
@@SilverwingVFX yes! Exactly that. The workflows don't seem to make sense or the creator just doesn't know enough of his material to properly explain the ins and outs of the theory behind as you do in your videos. Thanks again, mate!
yessss!! loved it! Would love to see a quick tip on the fluid and working with volume absorption tricks etc. Or thin layers of fluid that remain on dirty glasses etc.!
Hey Tom, very nice seeing you here again. Interesting suggestions you have there. Do you have an example for volume absorption tricks? About the dirt and thin layers of fluids... Dependent on the "thinness" of the layer I think I would do that using a texture within the same material, not dealing with separate meshes. But yeah, the Idea is good and maybe I will pick it up. Basically I am doing the same treatment to a lot of different surfaces, no matter if they are glass, metal or dielectric. I am thinking about putting all that in the upcoming material series.
I agree with all the buddies here in the comment section that your tutorials are really really good. Actually, i get really fast bored but you have this little extra :D thank you so much!
Thank you so very much for your comment. That´s fantastic to hear for me. I always have the fear that my tuts are boring and tedious to watch. So it´s great to hear that you actually got through it ha ha 🙏🙌
Great video! What I usually do to render glass faster is to take the ray depth of the light path node and pluging it un the factor of the glass/transparent mix. With a "greater than" node set to 4 or 5. It gets rid of the black spots without increasing the light path count !
This is so good. I finally understand what all of those buttons and sliders acutally do. I used to mess around with cycles render settings and just prayed for better resutls.🍸
Hey Kevin, thank you very much for your comment. I am very happy to hear that this video is providing something useful to you 😊 Thank you very much for the ✨🍸✨
Thanks for remining me that the Displacement node is a better alternative to the Bump node. I just had a scene where the shadow termination with the bump map is pretty much broken. Even using the "solution" checkbox didn't really improve things. With the Displacement node, the artefacts are gone. I'm suprised they still haven't fixed the normal Bump node.
Hey Andreas and thank you very much for chiming in here. It´s always a joy seeing you here. Indeed, I constantly use displacement. Because it just provides a more detailed and accurate bump result. I had the whole console shaded with the bump to normal node first. But especially when I had my camera further away from the surfaces, the materials stated lacking detail. I could not get the detail back any other way. I am guessing that going with normal maps would have been an alternative. but this can be tedious. So discovering the "Displacement" workflow saved my ass 🙌 Back then I remembered that I had the same problem working with Cloth on my material ball scene (that I also have for Blender Cycles) and after a long research I found one video that mentioned doing the bump via Displacement. Not sure if this is a well known workflow that everybody is using or if I am the only one. Generally I don´t see it mentioned that often. Long message again. So thank you for reading. Cheers and a fantastic rest of the week! Raphael
@@SilverwingVFX Damn, you're quick. I guess in many cases the Bump node will do fine. But there are cases where there are clear issues. I just recreated some scenes that I tested with Blender/Octane and I immediately saw, that something was off with the bump maps. The Octane ones looked nice and detailed, but the Cycles ones were coarse and had a lot ot dark areas in them - especially at glazing angles. Those artefacts don#t show when one uses the Displacement node. I also tried normal maps, but this would make using a lot of the procedural nodes in Cycles impossible as those have no normal outputs. Thanks for your detailed response - always appreciated. And it's really funny that twice in a row a little advice in the video had a bigger effect in my workflow than the general topic. They are awesome as well of course.
@@BG_Andy Just a coincidence that I was so quick as I was just scanning through UA-cam seeing if there are any new comments. Great to hear that you at least have something that was of value to you. Would bot be as nice otherwise. So to the little things besides the main topic 🙌✨ Cheers and a great time to you and happy rendering!
Thank you so much for your positive feedback. Makes me very happy hearing that. Also that you like the comparison. I was not sure if people would like that 😇
welcome back Raph, and cheers 🍸 haha, it's interesting how the 3D tech overlaps, what you learn in one package is almost 1:1 applicable in another, and i really like this particular glass shader because i can have caustics and decrease the shadow intensity as often in real life colorless glass has a very faint shadow compared to out of the box 3 specular material I like the light path node in cycles it seems more powerful than octane's ray switch, however, I believe it's more powerful because of the combination with the mix shader which is something we don't have in octane as far as I know I'm not sure if you remember me mentioning something regarding clouds in a blender a few months ago maybe, it uses a very similar setup to your glass shader, basically, the author uses the light path node to get the depth ray and have it control a factor between 2 added volume shaders with different anisotropy values, so you can control the light reflections ( backward or forward) alongside a few math nodes to make use of all the volume rays in the render settings I failed to recreate that in octane due to not being able to add 2 or more shaders together (in essence it's like combining 2 light passes but with more intricacy in the backend) because I couldn't find an additive shade node, tried to dive into osl for that but that's a long bumpy road although it's fun I give it that 😂 thank you so much for sharing mind opening tutorials even for experienced users, wish you a good time and great start for the week 🙌
Hey hey. Wow you wrote a lot of long comments yesterday. Thank you so much for your time and effort. I really appreciate it. About similarities in software: I always compare it to learning new languages. They are not completely the same but mostly have similar rule sets. The more languages you know the better you will be at picking up new ones because you already know a lot of similarities about other ones. It´s the same with 3D software and especially renderers. Insert small lesson about glass: If you are speaking of the "faintness" of a white glasses shadow. You might be surprised to hear that all glass (no matter how white it is) has a completely black shadow in reality. You can prove that by going into a completely dark room and light a glass with your phones flashlight. The shadow of the glass will be pure black only lit up by the glasses caustics. This is how glass works. Why it does not seem like this usually is because we have a lot of fill light from our surroundings in reality usually and all this "non direct light" is also refracting through the glass and fills in the shadows. So it seems like glass does not have a strong shadow (and this is the reason we can get away with fake shadows in certain situations) but in reality the shadow of a glass is always absolute, like with all of opake objects! About the Ray-Switch / Light Path: I think it acts pretty much the same in both renderers. If you want to have a transparent material you just plug it in to the Opacity slot in Octanes material. If you want to have a Fresnel in the Opacity, instead of using the intensity slider of the Ray-Switch you can just feed the shadow rays input the Fresnel and therefore get the desired result. It´s just a little different then you would do it in Cycles. About the clouds. Yeah I can remember. I think in Octane you can´t get the ray depth info in the shader. I am not sure if it is available anywhere. This is definitely an advantage in Cycles. Though I would argue that you probably would not need to tinker around with ray depths that much. At least not when going for 100% realistic shading. Though as volumes are really complex I guess there are cases where the basic volume shader can´t represent everything that goes on in a real cloud. So such tricks are necessary maybe. Overall my argument would be to improve the volume shader itself and add the necessary functions in the shader directly easily accessible to the artists. Cheers and again thank you very much for all your input and interest in my work! ✨🍸🍹🍸✨
hello hello thank you for the very insightful comment 🌟 about the glass, I agree with you as I've noticed on multiple occasions (especially when using a flashlight after the main power cuts off back in my home country 😂) however, to get as close as possible to a realistic result, one would need realistic caustics, and those are expensive to render, I often play around with the shadow pass in comp to make the glass shadows "feel" real, they're not physically accurate of course, but they have a realistic "vibe?", and so instead of doing the tedious work in post, I could have semi-realistic caustics but also be able to control the shadow via extra textures for a more seamless art directable experience, I understand this is very niche even for what I do, but I got super excited about the theoretical possibility thanks to you for the octane ray depth, I would assume it's combined with some of the rays since it needs to be calculated for lots of stuff to look proper but remains inaccessible regarding the volume shader i totally agree with your statement about improving the shader itself i believe Arnold has a much better artist-friendly standard volume shader that has 2 anisotropy values that allow for such things within the shader itself and has better documentation than the octane standard volume shader, but hopefully, soon enough the octane documentation catches up Again thank you very much for taking the time and answering my questions, i appreciate you🌟🙌 @@SilverwingVFX
0:58 Oh my... Silver Wing Cup... Cheers! Thank you for always great lectures. Can you give a C4D lighting lecture as well? The results I printed out seem to have blurry colors. Post-production work is done in After Effects.
Ha ha ha. Yeah, It was a birthday gift of a friend of mine some time ago. I use it every Day. People noted that if would be nice to have a merch store. But I am not sure about how much energy and time I can spare 😇 When you speak about C4D do you work with Octane? Color processing can be a real pain. And I don´t really have a lot of knowledge printing. I have some tuts about ACES and AgX (the latter one is the same I am using here in this video) workflows with After Effects or Fusion Studio. Generally having a bit of a washed out result out of the rendering is not that bad. I do that on purpose often so I have more latitude when Comping. So I can define which values are black and which are white and define mid tones and contrast. If you are having problems that you think I might be able to help. You can email me (email address is on my website). Not sure if I can help you with print, but I will at least try 😇
Ohhhh, thank you so much. I really appreciate this positive feedback! Thank you for noticing that I am trying to pronounce the Patreon names right. I was corrected in the past though so I am not always getting it right 😇 Cheers and thank you very much for considering becoming a patreon. But no pressure. Those videos will stay for free 🙌
You can turn off the caustics in the settings, but this then applies scene wide for all your objects. Maybe you want some objects to still have caustics. Another reason is that you still have to have the light path node to get rid of the shadow. So while you at it you can just also do it for the caustics.
Cycles is getting better and better, in 4.0 with energy conservation and perservation patch it is pretty much good as any other rendering engine out there. But if you wanna render specifically glass materials you sould try luxcore render in Blender and its free, it is literally superior to any other rendering existing engines in terms of caustics and glass. And its suitable with blender 4.0
Thank you very much for your comment. I have worked with Luxcore (and other bidirectional path tracers) before. You are right. It does an amazing job with glass and caustics 🙌 Cheers and a great transaction into the weekend to you!
Thanks for the setup! Always curious about option for caustics in cycles (real, not "shadow caustics") especially when using more accurate physical lights (i.e. NIS Light Pack).
5:57 what do you think about number of bounces in cycles comparing to Octane? Looks like bounces of like dif/glos/trnas at 64 are overkill ? In the manual though says the maximum (1024) the better. Even though looks like complete overkill amount
Thank you very much for your comment and your question. I think the max bounces you need is really dependent on your scene. I have had scenes in which I had to set the bounce depth to 128 to get proper light distribution in some glasses. This is mostly the case when you have glasses where the glass wall gets thinner toward the top of the glass. This makes light bounce around in there. You can usually see that behavior with a repeating stripe like pattern appearing along the rim of the glass (sort of similar what you see at the foot of my cocktail glass in this video here) If you have to few bounces the upper rim of the glass will stay unnatural dark. Also a couple of years ago Disney did some research on bounces of white water. In terms of making water look more realistic. And they noticed that they needed a very high number of bounces to get there. I can´t find the paper or the test clips, but the difference was astonishing. I am not 100% sure but I think they said they saw differences up until 1000 bounces. Overall my thoughts on the topic is, that if you have the capacity rather go with higher bounces, as in reality light fidelity is incredible high and a lot of it comes from it bouncing around quite a lot. So the more bounces you give CGI scenes, the higher the chance that it will look realistic and life like.
Hello, Your videos are really interesting. Hope there will be a video about caustics and rays. But fix the shadow from metal onto BGfloor instead of glass transparent material in the video. It seems the octane in c4d cannot be adjusted. I searched a lot of videos but still couldn't find it. keyshot and some other uncommon listening software work very well with just one push of a caustic activation button. Thank you for your wonderful video.
Hey there and thank you very much for your feedback. About your problem. I am happy to help but can you describe your problem a bit more in depth. I can´t quite follow unfortunately. Maybe it´s best shown with images. If so, you can gladly email me. The address is on my website. Maybe it´s this: In Octane you can use Photon Tracing to get more pronounced caustics. I have a video on this here: ua-cam.com/video/l8DP43qsuNM/v-deo.html
Hey there and thank you very much for your question. When you create a light in Cycles, on default it is turned off from "Camera" rays in the object menu under "Ray Visibility" If you turn that on again, you will also see the light in your rendered viewport.
hello, and thank you for these videos. i was wondering if you could possibly do a video or even if you have any other resources for help with glass in blender octane. i watched your c4d video on the plastics which was really interesting and informative on how materials like plastic work but as someone who only really has access too blender and just started using octane i was wondering how you would do all that and all of this with octane since i personally am struggling with finding these things
Hey there and thank you very much for your comment. I really appreciate your kind words and your question! I unfortunately do not have that much content on Octane for Blender yet, as I just started to make more Blender videos. I have two videos where I go into shading in Blender a bit. Though I think you could translate my C4D Octane videos into Blender Octane. At least a lot of other people have done so in the past. So if you want to go for glass in Octane, its more or less the same steps then in Cycles. I have made this video here, which is a bit different. But explains stuff well for Octane. At least I hope. ua-cam.com/video/IzTCztpur10/v-deo.html Then, if you want to get (sort of) started in Blender Octane, you might want to watch this video here. It´s not about glass, but it goes over the rough concepts of setting up Blender Octane: ua-cam.com/video/LpsnkD4c1Dw/v-deo.html Hope this helps you to get started. Other then that I hope there will be more octane centered videos in the future here. If you have any question that you can´t solve, feel free to contact me via email (it´s listed on my website) Cheers and a great Sunday evening and a fantastic time ahead!
Thank you for your comment and your question. Can you explain a little bit more what you want to do exactly? Something to make the edges of your seem used or even scratched? If you go for the used look, it is part of the shader, you would mix that in on the principled with roughness variation and maybe loss in transmission. It really depends on how strong you want the effect to be. I personally would rather use weight paint or vertex paint on the glasses verts to get good control of the shader effect. Then bring those in with the Attributes node. Though this can of course also be done with the usual blender dirt setups. Cheers, Raphael
@@SilverwingVFX Hi, thank you for quick reply. Basically I wanted to have canopy glass that has some dirt around the edges and that lets the light shine through it. The thing is I wouldn't know how to connect the two node groups (One containing edge dirt, and the other containing glass nodes). In your demonstration, from what I can discern you have 2 node groups, one as layer weight shader and one as bump shader, but you don't actually show how the would be connected. If you add a mix shader to connect them, you would be having an empty fac: value.
@Frostensen Thank you very much for your detailed answer. I think I understand now. Use the glass shader as is and then afterwards (right before the output) add yet another shader mix. In that shader mix, mix the glass with the dirt material you have created. This dirt material then will cast normal shadows since it is introduced to the shader stream after the light path node. If you want to make your shader more complex and more realistic you can even mix a translucent shader with a diffuse shader first (in a separate shader stream) to make the dirt light up when light hits it from behind (like it's usually the case with thin dust layers, leaves or paper) then mix that diffuse / translucent mix together with the glass. Again at the same position with a shader mix right before the output. Of course this can also be hard to control if you are not familiar with what you are doing. So you can go the simpler route and just mix in another opake e.g. principled BSDF as the dirt. I hope this was somewhat understandable. If it was not or if you have further questions, please feel free to ask!
Standing ovation. One of the best tutorials I've watched in the last year.
Oh, what a huge compliment. So happy to hear it ranks that high in your regard 🙌😊
Cheers and a fantastic start into this week to you ✨
In less than 10min of watching, I learned more than the 20+ tutorials about glass I followed. So happy to have discovered you! Thanks a lot
Ohhhh, that´s amazing to hear!
Thank you so much for your positive feedback, means a lot to me 🙌
Comments such as this make the whole tutorial business worth pursuing 💪
This is the most perfect combination of nerd explanation and succinct overview. So helpful!
Oh, thank you very much. Great to hear that you had this nice balanced experience 🙌
My mind was blown away by how well explained this was, the channel has become my go to🔥🔥🔥🔥🔥
Amazing content💯
Oh, thanks so much. I appreciate that you like it 🙌🎉
The only in depth video regarding cycles and glass shader. Hope this to be the start for in depth shaders in cycles and rendering in Blender. Thanks a lot🍸
Thank you very much. I did not research before if there are other good glass materials available to be honest. So I am glad to hear that 🙌 Thank you so much for your support ✨🍸🍹🍸✨
@@SilverwingVFX to put it right; there are no resources regarding depth shading techniques in the entire Blender community until now that you stepped in.
Thank you so much for this lesson! for the longest time I use to wonder why cycles glass out of the box looks so different from other render engines!
Thank you very much.
At some point they changed the settings. I can still remember using Cycles in Blender 2.9. I think Filter Glossy was not a think back then!
that's awesome content, man. Please, if you can, do more Blender videos. There's a lot of misunderstandings on youtube. I'd also like to ask if you can explain the part where you put fresnel on the object in 17:17! Thanks a lot!
Thank you very much.
Appreciate your nice comment. I guess you mean "bad workflows" when you are talking about misunderstandings?
Also thank you for your vote on the Fresnel part. I might do a video on this.
Cheers and a great start into the week to you!
@@SilverwingVFX yes! Exactly that. The workflows don't seem to make sense or the creator just doesn't know enough of his material to properly explain the ins and outs of the theory behind as you do in your videos. Thanks again, mate!
I learned a ton from this tutorial! Thanks from another C4D person making their way over to Blender (very slowly but surely).
Ohhh, that's amazing to hear. Thank you so much for your nice comment 🙌
Thanks for the Cycles tutorial dude, really appreciate it.
You are very welcome. It seems to have gained a bit of traction. Which is nice to see 🙌
Excellent tutorial. Best explanation I have seen. Thank you.
Ohhh thank you so much. That's great to hear 🙏
yessss!! loved it! Would love to see a quick tip on the fluid and working with volume absorption tricks etc. Or thin layers of fluid that remain on dirty glasses etc.!
Hey Tom,
very nice seeing you here again. Interesting suggestions you have there.
Do you have an example for volume absorption tricks?
About the dirt and thin layers of fluids... Dependent on the "thinness" of the layer I think I would do that using a texture within the same material, not dealing with separate meshes. But yeah, the Idea is good and maybe I will pick it up.
Basically I am doing the same treatment to a lot of different surfaces, no matter if they are glass, metal or dielectric.
I am thinking about putting all that in the upcoming material series.
I agree with all the buddies here in the comment section that your tutorials are really really good. Actually, i get really fast bored but you have this little extra :D thank you so much!
Thank you so very much for your comment.
That´s fantastic to hear for me. I always have the fear that my tuts are boring and tedious to watch. So it´s great to hear that you actually got through it ha ha 🙏🙌
Great video! What I usually do to render glass faster is to take the ray depth of the light path node and pluging it un the factor of the glass/transparent mix. With a "greater than" node set to 4 or 5. It gets rid of the black spots without increasing the light path count !
This is definitely a very nice trick for retaining faster render speeds. Very cool!
Thank you very much for sharing 🙌
This is so good. I finally understand what all of those buttons and sliders acutally do. I used to mess around with cycles render settings and just prayed for better resutls.🍸
Hey Kevin,
thank you very much for your comment. I am very happy to hear that this video is providing something useful to you 😊
Thank you very much for the ✨🍸✨
Thanks for remining me that the Displacement node is a better alternative to the Bump node. I just had a scene where the shadow termination with the bump map is pretty much broken. Even using the "solution" checkbox didn't really improve things. With the Displacement node, the artefacts are gone. I'm suprised they still haven't fixed the normal Bump node.
Hey Andreas and thank you very much for chiming in here.
It´s always a joy seeing you here.
Indeed, I constantly use displacement. Because it just provides a more detailed and accurate bump result.
I had the whole console shaded with the bump to normal node first. But especially when I had my camera further away from the surfaces, the materials stated lacking detail. I could not get the detail back any other way. I am guessing that going with normal maps would have been an alternative. but this can be tedious. So discovering the "Displacement" workflow saved my ass 🙌
Back then I remembered that I had the same problem working with Cloth on my material ball scene (that I also have for Blender Cycles) and after a long research I found one video that mentioned doing the bump via Displacement. Not sure if this is a well known workflow that everybody is using or if I am the only one. Generally I don´t see it mentioned that often.
Long message again. So thank you for reading.
Cheers and a fantastic rest of the week!
Raphael
@@SilverwingVFX Damn, you're quick. I guess in many cases the Bump node will do fine. But there are cases where there are clear issues. I just recreated some scenes that I tested with Blender/Octane and I immediately saw, that something was off with the bump maps. The Octane ones looked nice and detailed, but the Cycles ones were coarse and had a lot ot dark areas in them - especially at glazing angles. Those artefacts don#t show when one uses the Displacement node. I also tried normal maps, but this would make using a lot of the procedural nodes in Cycles impossible as those have no normal outputs.
Thanks for your detailed response - always appreciated. And it's really funny that twice in a row a little advice in the video had a bigger effect in my workflow than the general topic. They are awesome as well of course.
@@BG_Andy Just a coincidence that I was so quick as I was just scanning through UA-cam seeing if there are any new comments.
Great to hear that you at least have something that was of value to you. Would bot be as nice otherwise. So to the little things besides the main topic 🙌✨
Cheers and a great time to you and happy rendering!
Finaly a tutorial about realism and not artsy-fartsy. Please do more.
Ha ha, great to hear you like it! Yeah. I like to understand and teach the science behind stuff. Not just what looks great 😇
Thanks for this Chief. Definitely worth a bookmark.
Thank you very much Arthur. Much appreciated 🙌
Oh man! Perfect, thank you! I love the comparison to C4D Octane, being able to achieve more or less same results in either software!
Thank you so much for your positive feedback. Makes me very happy hearing that.
Also that you like the comparison. I was not sure if people would like that 😇
welcome back Raph, and cheers 🍸 haha, it's interesting how the 3D tech overlaps, what you learn in one package is almost 1:1 applicable in another, and i really like this particular glass shader because i can have caustics and decrease the shadow intensity as often in real life colorless glass has a very faint shadow compared to out of the box 3 specular material
I like the light path node in cycles it seems more powerful than octane's ray switch, however, I believe it's more powerful because of the combination with the mix shader which is something we don't have in octane as far as I know
I'm not sure if you remember me mentioning something regarding clouds in a blender a few months ago maybe, it uses a very similar setup to your glass shader, basically, the author uses the light path node to get the depth ray and have it control a factor between 2 added volume shaders with different anisotropy values, so you can control the light reflections ( backward or forward) alongside a few math nodes to make use of all the volume rays in the render settings
I failed to recreate that in octane due to not being able to add 2 or more shaders together (in essence it's like combining 2 light passes but with more intricacy in the backend) because I couldn't find an additive shade node, tried to dive into osl for that but that's a long bumpy road although it's fun I give it that 😂
thank you so much for sharing mind opening tutorials even for experienced users, wish you a good time and great start for the week 🙌
Hey hey.
Wow you wrote a lot of long comments yesterday. Thank you so much for your time and effort. I really appreciate it.
About similarities in software:
I always compare it to learning new languages. They are not completely the same but mostly have similar rule sets. The more languages you know the better you will be at picking up new ones because you already know a lot of similarities about other ones.
It´s the same with 3D software and especially renderers.
Insert small lesson about glass:
If you are speaking of the "faintness" of a white glasses shadow.
You might be surprised to hear that all glass (no matter how white it is) has a completely black shadow in reality.
You can prove that by going into a completely dark room and light a glass with your phones flashlight. The shadow of the glass will be pure black only lit up by the glasses caustics. This is how glass works. Why it does not seem like this usually is because we have a lot of fill light from our surroundings in reality usually and all this "non direct light" is also refracting through the glass and fills in the shadows. So it seems like glass does not have a strong shadow (and this is the reason we can get away with fake shadows in certain situations) but in reality the shadow of a glass is always absolute, like with all of opake objects!
About the Ray-Switch / Light Path:
I think it acts pretty much the same in both renderers.
If you want to have a transparent material you just plug it in to the Opacity slot in Octanes material.
If you want to have a Fresnel in the Opacity, instead of using the intensity slider of the Ray-Switch you can just feed the shadow rays input the Fresnel and therefore get the desired result.
It´s just a little different then you would do it in Cycles.
About the clouds. Yeah I can remember. I think in Octane you can´t get the ray depth info in the shader. I am not sure if it is available anywhere. This is definitely an advantage in Cycles. Though I would argue that you probably would not need to tinker around with ray depths that much. At least not when going for 100% realistic shading.
Though as volumes are really complex I guess there are cases where the basic volume shader can´t represent everything that goes on in a real cloud. So such tricks are necessary maybe.
Overall my argument would be to improve the volume shader itself and add the necessary functions in the shader directly easily accessible to the artists.
Cheers and again thank you very much for all your input and interest in my work! ✨🍸🍹🍸✨
hello hello thank you for the very insightful comment 🌟
about the glass, I agree with you as I've noticed on multiple occasions (especially when using a flashlight after the main power cuts off back in my home country 😂) however, to get as close as possible to a realistic result, one would need realistic caustics, and those are expensive to render, I often play around with the shadow pass in comp to make the glass shadows "feel" real, they're not physically accurate of course, but they have a realistic "vibe?", and so instead of doing the tedious work in post, I could have semi-realistic caustics but also be able to control the shadow via extra textures for a more seamless art directable experience, I understand this is very niche even for what I do, but I got super excited about the theoretical possibility thanks to you
for the octane ray depth, I would assume it's combined with some of the rays since it needs to be calculated for lots of stuff to look proper but remains inaccessible
regarding the volume shader i totally agree with your statement about improving the shader itself i believe Arnold has a much better artist-friendly standard volume shader that has 2 anisotropy values that allow for such things within the shader itself and has better documentation than the octane standard volume shader, but hopefully, soon enough the octane documentation catches up
Again thank you very much for taking the time and answering my questions, i appreciate you🌟🙌
@@SilverwingVFX
0:58 Oh my... Silver Wing Cup... Cheers!
Thank you for always great lectures. Can you give a C4D lighting lecture as well? The results I printed out seem to have blurry colors. Post-production work is done in After Effects.
Ha ha ha. Yeah, It was a birthday gift of a friend of mine some time ago. I use it every Day. People noted that if would be nice to have a merch store. But I am not sure about how much energy and time I can spare 😇
When you speak about C4D do you work with Octane?
Color processing can be a real pain. And I don´t really have a lot of knowledge printing.
I have some tuts about ACES and AgX (the latter one is the same I am using here in this video) workflows with After Effects or Fusion Studio.
Generally having a bit of a washed out result out of the rendering is not that bad. I do that on purpose often so I have more latitude when Comping. So I can define which values are black and which are white and define mid tones and contrast.
If you are having problems that you think I might be able to help. You can email me (email address is on my website). Not sure if I can help you with print, but I will at least try 😇
You're a Rockstar. Keep up the killer work. Cheers!
Thank you very much. Appreciate the comment 🙌
Wow so amazing tutorial but also your thanks for the Patreon members with the effort of right pronounce of the names! Maybe i can join on the future 😎
Ohhhh, thank you so much. I really appreciate this positive feedback!
Thank you for noticing that I am trying to pronounce the Patreon names right. I was corrected in the past though so I am not always getting it right 😇
Cheers and thank you very much for considering becoming a patreon. But no pressure. Those videos will stay for free 🙌
13:43 why don't just disable caustics in the render settings? The tick button is right there all you have to do is just untick it😁
Editing the answer here because I thought it was made in response to another part of the video.
You can turn off the caustics in the settings, but this then applies scene wide for all your objects.
Maybe you want some objects to still have caustics.
Another reason is that you still have to have the light path node to get rid of the shadow. So while you at it you can just also do it for the caustics.
Fair enough, i was just wondering if this have the same effect, but i guess you’re right, using shaders gives more control
Cycles is getting better and better, in 4.0 with energy conservation and perservation patch it is pretty much good as any other rendering engine out there. But if you wanna render specifically glass materials you sould try luxcore render in Blender and its free, it is literally superior to any other rendering existing engines in terms of caustics and glass. And its suitable with blender 4.0
Thank you very much for your comment.
I have worked with Luxcore (and other bidirectional path tracers) before. You are right. It does an amazing job with glass and caustics 🙌
Cheers and a great transaction into the weekend to you!
Please do another video explaining Fresnel subject.
Thank you very much for your comment and your suggestion. I think there will be a bigger topic about Fresnel in the future 🙌
Thanks for the setup! Always curious about option for caustics in cycles (real, not "shadow caustics") especially when using more accurate physical lights (i.e. NIS Light Pack).
🍸 Great as always! Thank you!
Hey hey and thank you very much for your nice comment.
Appreciate it and your support!
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Thank you so much for this awesome video ❤
Thank you very much for your kind comment. Always happy hearing such positive feedback!
amazing! thank you very much!
You are very welcome. Glad you liked it 🙌
Awesome! Another JEM~
Thank you very much for your support. I really appreciate your nice feedback!
5:57 what do you think about number of bounces in cycles comparing to Octane? Looks like bounces of like dif/glos/trnas at 64 are overkill ? In the manual though says the maximum (1024) the better. Even though looks like complete overkill amount
Thank you very much for your comment and your question.
I think the max bounces you need is really dependent on your scene. I have had scenes in which I had to set the bounce depth to 128 to get proper light distribution in some glasses.
This is mostly the case when you have glasses where the glass wall gets thinner toward the top of the glass. This makes light bounce around in there. You can usually see that behavior with a repeating stripe like pattern appearing along the rim of the glass (sort of similar what you see at the foot of my cocktail glass in this video here)
If you have to few bounces the upper rim of the glass will stay unnatural dark.
Also a couple of years ago Disney did some research on bounces of white water. In terms of making water look more realistic. And they noticed that they needed a very high number of bounces to get there. I can´t find the paper or the test clips, but the difference was astonishing. I am not 100% sure but I think they said they saw differences up until 1000 bounces.
Overall my thoughts on the topic is, that if you have the capacity rather go with higher bounces, as in reality light fidelity is incredible high and a lot of it comes from it bouncing around quite a lot. So the more bounces you give CGI scenes, the higher the chance that it will look realistic and life like.
Another gem!
Thank you very much. Very glad to hear that ✨
Awesome Video
Thank you : )
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You are very welcome. And thanks a lot for the ✨🍸✨
Hello, Your videos are really interesting. Hope there will be a video about caustics and rays. But fix the shadow from metal onto BGfloor instead of glass transparent material in the video. It seems the octane in c4d cannot be adjusted. I searched a lot of videos but still couldn't find it. keyshot and some other uncommon listening software work very well with just one push of a caustic activation button. Thank you for your wonderful video.
Hey there and thank you very much for your feedback.
About your problem. I am happy to help but can you describe your problem a bit more in depth. I can´t quite follow unfortunately.
Maybe it´s best shown with images. If so, you can gladly email me. The address is on my website.
Maybe it´s this:
In Octane you can use Photon Tracing to get more pronounced caustics. I have a video on this here:
ua-cam.com/video/l8DP43qsuNM/v-deo.html
2:20 How you make the light gradient texture visible in cycles?
Hey there and thank you very much for your question.
When you create a light in Cycles, on default it is turned off from "Camera" rays in the object menu under "Ray Visibility"
If you turn that on again, you will also see the light in your rendered viewport.
hello, and thank you for these videos. i was wondering if you could possibly do a video or even if you have any other resources for help with glass in blender octane. i watched your c4d video on the plastics which was really interesting and informative on how materials like plastic work but as someone who only really has access too blender and just started using octane i was wondering how you would do all that and all of this with octane since i personally am struggling with finding these things
Hey there and thank you very much for your comment.
I really appreciate your kind words and your question!
I unfortunately do not have that much content on Octane for Blender yet, as I just started to make more Blender videos.
I have two videos where I go into shading in Blender a bit. Though I think you could translate my C4D Octane videos into Blender Octane. At least a lot of other people have done so in the past.
So if you want to go for glass in Octane, its more or less the same steps then in Cycles.
I have made this video here, which is a bit different. But explains stuff well for Octane. At least I hope.
ua-cam.com/video/IzTCztpur10/v-deo.html
Then, if you want to get (sort of) started in Blender Octane, you might want to watch this video here. It´s not about glass, but it goes over the rough concepts of setting up Blender Octane:
ua-cam.com/video/LpsnkD4c1Dw/v-deo.html
Hope this helps you to get started. Other then that I hope there will be more octane centered videos in the future here.
If you have any question that you can´t solve, feel free to contact me via email (it´s listed on my website)
Cheers and a great Sunday evening and a fantastic time ahead!
@@SilverwingVFX thank you so much, this helped a ton and i hope you have a great sunday aswell!
good job
Thank you very much 😊
This is very interesting. However I have a more advanced problem (for me). How would I mix some edge dirt and via masks with this kind of setup?
Thank you for your comment and your question.
Can you explain a little bit more what you want to do exactly?
Something to make the edges of your seem used or even scratched?
If you go for the used look, it is part of the shader, you would mix that in on the principled with roughness variation and maybe loss in transmission.
It really depends on how strong you want the effect to be.
I personally would rather use weight paint or vertex paint on the glasses verts to get good control of the shader effect. Then bring those in with the Attributes node.
Though this can of course also be done with the usual blender dirt setups.
Cheers,
Raphael
@@SilverwingVFX Hi, thank you for quick reply. Basically I wanted to have canopy glass that has some dirt around the edges and that lets the light shine through it. The thing is I wouldn't know how to connect the two node groups (One containing edge dirt, and the other containing glass nodes). In your demonstration, from what I can discern you have 2 node groups, one as layer weight shader and one as bump shader, but you don't actually show how the would be connected. If you add a mix shader to connect them, you would be having an empty fac: value.
@Frostensen Thank you very much for your detailed answer. I think I understand now.
Use the glass shader as is and then afterwards (right before the output) add yet another shader mix. In that shader mix, mix the glass with the dirt material you have created. This dirt material then will cast normal shadows since it is introduced to the shader stream after the light path node.
If you want to make your shader more complex and more realistic you can even mix a translucent shader with a diffuse shader first (in a separate shader stream) to make the dirt light up when light hits it from behind (like it's usually the case with thin dust layers, leaves or paper) then mix that diffuse / translucent mix together with the glass. Again at the same position with a shader mix right before the output.
Of course this can also be hard to control if you are not familiar with what you are doing. So you can go the simpler route and just mix in another opake e.g. principled BSDF as the dirt.
I hope this was somewhat understandable.
If it was not or if you have further questions, please feel free to ask!
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Yaaaay, thank you so much ✨🍸🍹🍸✨
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Yaaay. Cocktail Party 🙌✨🍹🍸🍷🍸🍹✨🙌
Thank you!
If we need another professor at my university I will contact you. ;-)
Hey hey, very nice seeing you here. Thank you very much for the kind words 🙏