Hi! Here is my model of a Canon AV-1 Film camera that I completely scratch modeled and rendered in cycles.
Isn’t it just delicious. I’d love to see wires.
Not the cleanest mesh, but its difficult to retain consistency with highly varying levels of detail.
I featured you on BlenderNation, have a great weekend!
Would you mind sharing the node setup for the main body of the camera? I am still not familiar with cycles. e.g. the brighter metal one on your camera, I can’t get it to look right.
Also, amazing work!
Sure! for the sections that do not include any of the branding or decals, the setup is as follows:
For the main body material, I used a noisey texture to create the roughness in the metal. The texture co-ordinate input is set to UV with a mapping node, (I just used this to scale down the texture, rather than using the UV editor as it would of disrupted the logos) this is input to the normal setup, ensure to select ‘non-color data’, then its just into a principled shader with 100% metallic and a static roughness level.
for the shader with the decals, I chose to use a difference setup rather than laying a plane and projecting it with an alpha, this enables the normal map to be applied onto both materials.(normal map wont appear on a transparent material)
This used a combination of two materials, one of which is the metal material listed previously, and one is the material with the decals. I then used a grayscale image of the decals only containing 100% white or 100% black as the alpha and plugged that into the factor as the difference between the two materials.
the normal map for the decals was then mixed with the noisey texture for the metal side of the alpha map, and then used the decal normal alone for the decal side of the map.
If you’re new to the node system, it can be quite a lot to take in, I would suggest watching some video tutorials and experimenting with how different nodes work, If you need any more info, shoot me an inbox and i’ll be more than happy to help you with anything.
Thanks for the feedback!
Wow, that’s a lot of useful and clear information, definitely studying it. Though I have been messing around with the node system for months, I still seriously lack all the knowledge to produce decent work. Gotta try harder.
I will try bothering you for some answers if I am confused(99% going to). Always want to model my sony camera, your work is very inspirational. Thanks again!
No worries! Let me know if i can help in any way!
“Nodes” are the power-tool of Blender, and the key thing to remember about a so-called “noodle” is that it is sort of a process pipeline for data: certain nodes are sources of information; one type is “the sink;” all others are transformations. But, unlike other metaphors for the materials-and-textures, nodes are not directly physical. There isn’t a direct, real-world analogy for what we are doing here, even though we’re using them to mimic physical light-effects. (Here’s where we really see that "this is a digital computer.")
It reminds me somewhat of the photographer’s mantra, "Look at the light." In this case, it is "Look at the data." What data you have available to you that could influence the behavior of light as it strikes a surface, and what might you do with it in order to emulate what real light does in real life. It’s a slightly curious way of looking at the problem, but extremely liberating.
When you’re studying nodes, in any and every one of the many ways in which Blender now uses them, "start with the forest." Get the big picture first, then start looking at the individual trees. Imagine something and get your hands dirty trying to do it, even with the default-cube. Prepare to be surprised, now and then. Those surprises can be very informative.
And: “TMTOWTDI (‘Tim Toady’): There’s More Than One Way To Do It.” Nodes are a box of Tinkertoys.®
I think I have largely understood the whole idea of the first image , but there are some nodes I can’t comprehend with the second image:
1.I assume the purpose of the “alpha.jpg” controlling the factor of the mix shader is to tell blender which specific parts of the mesh the two shader (In this case, it’s the base material and the decor one, I guess) should apply to respectively, depending on the connecting order.(Am I right so far?) . If so, why doesn’t it need a UV map? There is nothing connected to its vector socket, neither is col.jpg’s( which I suppose is the decal image) .Am I mistaken or missing something?
2.The Bump.bmp isn’t connected to a UV either(why/how not?), and it has some inverting nodes after it. I would love to know what scenerio you encountered makes you decide to setup those nodes.
Thanks in advance!
Basically correct. The alpha more just decides which part of the material will be one shader and which will be the other. The alpha is pretty much exactly as the col.jpg but it’s only black or white.
As Sundial said, there’s more than one way to do it. Since my noisey texture is mapped very small, the edges of each face of the mesh don’t really need to perfectly line up In this case as you wouldn’t really be able to tell.
From memory I think I used “smart UV project” to unwrap it, this can be useful for certain situations like this, in this case I used certain faces of the mesh that would have the logos etc and assigned them with the material with the decals. in the UV editor I moved these certain faces around on the decal image so they’d line up. But I also had to scale them, so If they disrupted the noisey texture is just go back and use the vector mapping which was the normal map for the noisey texture.
I’m happy to send you a .blend with the materials if need be
I’d like to see this project in The Gallery, and it would be wonderful if you built a detailed tutorial. I’m quite sure that any one of several Blender pro sites would quickly feature it.
This is an excellent example of a very common 3D requirement: exactly and convincingly depict a real physical object.
Ha! Love this. I know it’s registered, but I think I have to use this now.
Oh, I get it now. Thanks for your replies, I learned a lot.
No worries! Glad we could help