- [Instructor] In the last movie we applied an Uber Noise
to the Bump Map of the paint material
on the courtyard wall here.
Now we're going to art direct that
and achieve a rough bumpy stucco effect.
In order to make it really clear what's going on.
I'm going to increase the bump amount to a very high value,
select the physical material and in its parameters
scroll down into Special Maps.
We have the Bump Map amount.
Let's crank that up to a value of 10
which is a bit excessive for rendering
but it's going to give us a really clear preview
in our realistic viewport rendering.
All right, so let's go to the Uber Noise map
and explore some of its parameters.
Starting with the Noise Type.
There are a whole bunch of different Noise Types built in.
Let's choose Warley Minkowski 4
and we see we've changed the effect here.
It's looking very white and blasted out
in the material preview
and that's because of this option down here
Step Function per Iteration.
A fractal algorithm like this works in layers or iterations.
It's repeating the algorithm and layering the results.
And what's happening here is that
each iteration has a contrast adjustment applied
that's the so-called step function.
And that's resulting in this blasted out effect.
In this case I just want to disable
the step function per iteration, so just turn that off.
And still looking pretty blasted out
but that's because we have the combination mode here
under fractal noise setup.
The combination mode
determines how the different layers are combined.
And with the default mode of Add,
they're being added together or summed
and that tends to send them towards a bright white.
I'm going to change the combination mode
and set that to multiply.
And now we see a very distinct cell pattern.
Cool, so back up in our noise settings
we have the most critical setting
which is the size or scale of the pattern.
And that's labeled as base wavelength or scale.
If we reduce this, bring this down to a value of
let's say five, then we get a much smaller pattern.
And this is actually looking closer to what we want
but we need to work on this a bit better
in order to get a good stucco effect
'cause this is looking very uniform throughout.
What we want to do is actually have a larger scale
and then increase the number of iterations or layers.
And that's going to produce smaller patterns
within the larger pattern.
So I'm going to set my base wavelength
up to a high value of 50.
And then in the fractal noise setup
we have number of iterations.
As we increase this
we will start to see more and more detail emerge.
We're increasing the number of layers
and each layer is smaller than the one before it
according to this parameter iteration frequency ratio.
What's happening with the default iteration frequency ratio
of 1.8 is that the size of each success of iteration
is divided by 1.8.
So they're successively smaller.
If we set the ratio to two, then each layer
or each iteration is half of the size of the one before it.
So now I've got a number of iterations set to eight
and an it frequency ratio or lacunarity of two.
And I've actually got pretty close to the result I want
but there's some fine tuning that we can do.
Below that you'll see iteration amplitude ratio
and that's the gain.
It's the strength or intensity
of each iteration relative to the one before it.
But actually in combination mode of multiply
this parameter has no effect.
However, here comes in the magic of OSL.
If we wanted to, we could directly edit the script code
of this map and make it so we could edit that script
in order to enable the iteration amplitude ratio
in multiply mode.
And to do that, we would go up to the top of the panel here
and click on the magnifier glass that opens up
the OSL source code editor.
And of course this is out of scope
for an essential training course.
I just wanted to point this out
that this was possible because it's amazing.
I actually covered the basics of OSL syntax and technique
in my weekly series, 3DS Max Tips Tricks and Techniques.
So I'll close that.
Going back to our noise settings.
We have a parameter here Warley Jitter,
and that specific to the Warley noise type.
That's going to introduce some randomness
so we'll have some areas that are flatter
and some areas that are more bumpy.
Let's bring the Warley Jitter up a little bit.
We'll set that to a value of 1.5
and you can see now we've got some flatter areas
and some more rough areas.
Moving on we've got Layer Distortion.
Let's scroll down a bit.
Layer Distortion is going to apply a warp effect
that's going to push the detail around on the surface.
And in order to see this more clearly
let's change the scale.
We'll set the scale to a value of one.
That scale parameter is the size of the layer distortion
relative to the base wave length.
And if we turn layer distortion on and off
we can kind of see how that's operating.
It's as I said, warping the effect.
I'll bring the scale down to let's say 0.3
and we have the scale ratio
which is the size of that warp effect on each iteration
very similar to the iteration frequency ratio parameter.
Let's set the scale ratio for the layer distortion to 0.6.
And then finally we have the amount
of layer distortion we'll reduce that.
Let's bring that down to a value of two.
We're very close to what we wanted here.
I actually just want to invert this map.
I want all the areas that are currently recessed in
or pushed inward to be pulled outward and vice versa.
And to do that all the we need to do is just
swap these colors.
We have color A and color B
and just click and drag on one of those color swatches
and drop it onto the other one.
We get a little popup menu.
We can choose to swap those colors or copy one to the other.
I want to choose swap.
Cool, so now we're getting more of a stucco effect
with some depressions there.
The last thing I want to do
on this map is to adjust the contrast.
We previously saw the step function per iteration
which will adjust the contrast for each layer.
What I want in this case is actually
to enable the step function on the output.
So this is just going to change the overall contrast
after all the layers have been combined.
Enable step function output and will set the low value
to 0.1 and set the high value to one.
And now it looks kind of blasted out here
but that's actually what I want.
So I've got some kind of more flat areas.
Finally will need to adjust the bump amount
because it's really exaggerated for the purposes
of our viewport render.
To do a final render we're going to want to
bring that bump amount down into something more reasonable.
I'll reselect that physical material,
go back down into its bump map parameter,
set that to a value of two.
Cool, so that's how to adjust the parameters
of the Uber Noise map in order to achieve a stucco effect.