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GENERAL VIEW
In this tutorial I will try to describe features available in FRYRENDER's material editor.
You can see general look in the screenshoot.
In FRYRENDER we have got Library browser with some basic materials like plastics, cloth, metals etc. They can be really handle when only simple shaders are needed and you can always modify them vey fast.
If you wish to create a material , just select 'NEW' icon. To preview created material yo have to click play button and wait until it will clear out to see effect. Remember that if you made any change in material properties you have to click play to refresh it.
If you click on black&orange sphere in the top of material tree you will enter main material properties. Here you can add displacement or opacity map for your material. If you click on '+' icon inside material tree, a new material layer will be added. As you can see each layer has its own Reflectance, Transmittance, SSS, and Thin-film controlers. Also you can turn basic layer into an emitter layer by clicking on emitter icon. Each layer has its own weight which can be controlled by a value in percent or a bitmap.
It is always good to keep overall sum of layer weights at 100%.
You can see general look in the screenshoot.
In FRYRENDER we have got Library browser with some basic materials like plastics, cloth, metals etc. They can be really handle when only simple shaders are needed and you can always modify them vey fast.
If you wish to create a material , just select 'NEW' icon. To preview created material yo have to click play button and wait until it will clear out to see effect. Remember that if you made any change in material properties you have to click play to refresh it.
If you click on black&orange sphere in the top of material tree you will enter main material properties. Here you can add displacement or opacity map for your material. If you click on '+' icon inside material tree, a new material layer will be added. As you can see each layer has its own Reflectance, Transmittance, SSS, and Thin-film controlers. Also you can turn basic layer into an emitter layer by clicking on emitter icon. Each layer has its own weight which can be controlled by a value in percent or a bitmap.
It is always good to keep overall sum of layer weights at 100%.
1. OBJECT REFLECTANCE
Let's start with first configurable parameter - Object Reflectance.
We can change reflectance color or load a texture map.
"Ref 0" is responsible for objet diffuse color
"Ref 90"is resposible for reflection color at glancing angles
Here is a qick example showing how it really works.
Both materials have roughness set to 10.
We can change reflectance color or load a texture map.
"Ref 0" is responsible for objet diffuse color
"Ref 90"is resposible for reflection color at glancing angles
Here is a qick example showing how it really works.
Both materials have roughness set to 10.
Additionaly we can control Fresnels curve to change the appearance of relfections.
A slight modification created something like satin cloth efffect.
Next important parameter is Fresnel IOR.
With this parameter we can control relfection strenght. If value is close to 1.0 reflections will be slightly visible
while at 100 material will behave like a perfcet mirror.
Example renderings ( material roughness is set to 0 )
Material roughness is very important thing to understand.
Roughness set to 0 means that all light will bounce off the object, like from a perfect polished surface.
When roughness is set to 100, material will be so rough that all light will be scattered on its surface, causing all reflections to disappear.
Perfectly diffusing Surface like this is called a lambertian surface.
For shiny plastics, metals and polished surfaces, roughness parameter should usually vary from 0 - 20, For hard ground, concrete,stone walls, hard rubber, values should be higher something like 50 - 90 would fit well.
You should remember that black color = rougness set to 0 and white color = rougness set to 100, Let's put map in a roughness slot to get this idea.
For shiny plastics, metals and polished surfaces, roughness parameter should usually vary from 0 - 20, For hard ground, concrete,stone walls, hard rubber, values should be higher something like 50 - 90 would fit well.
You should remember that black color = rougness set to 0 and white color = rougness set to 100, Let's put map in a roughness slot to get this idea.
2. OBJECT TRANSMITTANCE
Transmittance has two modes: Dielectric transmittance and Ghost glass. Ghost glass renders faster since it has attached simple refraction mode. It is suitable for
windows and flat geometry glass objects.
We can control transmittance color, absorbtion and dispersion.
Absorbtion defines how far light can go through object. Here is a glass material ( roughness 0, IOR 1.51 ) showing how absorption parameter affects its brightness. Keep in mind that absorption value is given in centimeters, so making all your object in a proper scale is very important.
We can control transmittance color, absorbtion and dispersion.
Absorbtion defines how far light can go through object. Here is a glass material ( roughness 0, IOR 1.51 ) showing how absorption parameter affects its brightness. Keep in mind that absorption value is given in centimeters, so making all your object in a proper scale is very important.
If material has dielectric transmittance, an IOR parameter will also control the refraction of light. Each material has it's own index of refraction. To make your shader
more realistic always check if your IOR value is correct.
Here is a list of most common materials
http://www.ps.missouri.edu/rickspage/refract/refraction.html
Dispersion effect looks very cool and it is essential when you're makeing something like jewelry, but remenber you should expect very long rendering times. If you don't really have to achieve this effect in your scene and you don't own fast processor, rather try to avoid it.
Here is a list of most common materials
http://www.ps.missouri.edu/rickspage/refract/refraction.html
Dispersion effect looks very cool and it is essential when you're makeing something like jewelry, but remenber you should expect very long rendering times. If you don't really have to achieve this effect in your scene and you don't own fast processor, rather try to avoid it.
3. SUB SURFACE SCATTERING
Sub surface scattering has two modes - Isotropic scattering suitable for thick objects and single-sheet scattering
great for curtains, leafs, paper, and other objects with small thickness.
We can choose sub surface color, Absorption and Density.
Absorption parameter works the same as in transmittance properties. It controls how deep light can get through object untill it bounce. When absorption value is very low, light will bounce of very soon and amount of sub surfae color tint will be huge.
Here are sample renderings with different absorption values. ( diffuse color = grey; sub surface color = green )
We can choose sub surface color, Absorption and Density.
Absorption parameter works the same as in transmittance properties. It controls how deep light can get through object untill it bounce. When absorption value is very low, light will bounce of very soon and amount of sub surfae color tint will be huge.
Here are sample renderings with different absorption values. ( diffuse color = grey; sub surface color = green )
Here are sample renderings with different density values. Absorption parameter is set to 5 cm.
With single sheet scattering mode, light gets tinted by the transmittance color immediately as it crosses the object.
Amount of SSS is controlled by the roughness of the material.
Here is a rendering of chiense lamp made of paper showing how does single sheet scattering work.
A light emitter was placed inside lamp to make this efect visible.
4. THIN FILM INTERFERENCE
The interference of light waves reflecting off the top surface of a film with the waves reflecting from the bottom surface is called thin film interference. To obtain a nice
colored pattern, the thickness of the film has to be on the order of the wavelength of light.
Thin-film layers are common in the natural world. Their effects for example produce colors seen in soap bubbles and oil slicks. Thin film has configurable thickness, color and its own IOR.
Thin-film layers are common in the natural world. Their effects for example produce colors seen in soap bubbles and oil slicks. Thin film has configurable thickness, color and its own IOR.
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