All language subtitles for 08. Ocean Material

We have two different checkboxes right here generate normals and generate phone generate normals will

enable us to generate the normal maps for this plane here and then use those in the material editor

for this example though we aren't gonna use that we will turn on January foam though and I'll show you

exactly how that works.

So if we turn on generate foam we can set the coverage right here.

This determines how much foam is in our scene.

So if I said this to a value of point two that's a pretty decent amount of foam and that will look pretty

good if you set this to higher like let's say 1 your ocean will be completely filled with foam and then

we'll just look white.

So you want to be careful with this value.

And I'm just gonna go with a point to next to that we have foam data layer name.

This is where we set a name for our foam which we can then import into the material for this case.

I'm gonna be type in in foam.

And so now when we go into the node Ed we'll use that name to bring in the foam.

We also have the option to bake in our ocean and we can set the foam fade when the foam FADES OUT THE

END frame right here.

And the cash path you don't have to bake in this ocean modifier but it has its advantages.

For example it's faster when you use store data rather than recalculating it every time you play it.

It also allows for external renders.

So for example if you send this to a render farm you might want to bake in the ocean and then it also

enables you to have more advanced foam maps.

So basically that means if we click a bake it'll take our phone data and convert it into a bunch of

images and place it into the folder that we specify right here.

So what I did for a test I set a custom bake folder right here and we can see all of the files that

it export it.

It's currently going up to a value of 40 and we can see the displacement map.

It's dot E X R and then we also have the foam dot e x r.

Now if you have a program like Photoshop you can open up these files and see what they look like.

So if I go over to Photoshop we can see this is what our foam layer looks like.

You can see there is a lot of foam in our scene.

And then this is what the displacement map looks like.

So with this data you can go ahead and put those into the note Ed and have some more complex.

You can animate this.

There's a lot more things that you can do with baking your ocean rather than just setting it to generate

foam for this sitar although we will only use generate foam and we're not going to be sitting in a cash

folder now that we've clicked on generate foam.

Let's go ahead and set up the material.

So first off for the lighting because I want to be able to see what this looks like.

I'm going to be using an HDR.

Now there is a link to this HDR in the project files or in the article previous to this video.

So once you have it go over to the world settings click on this button here and click on environment

texture the environment texture allows you to import 360 degree images into your scene then click open

navigate to where your HDR is are mine are right here then click on the three K and then go open.

Image once we do that we combine Z and go into rendered view and currently I'm using cycles and we can

see that our HDR is working.

Now I don't want to see the HDR.

So what I'm going to do is go over to the world's settings underneath Phil underneath film.

I'm going to turn on transparent so we only see the ocean next.

Let's set up the material.

So with the ocean selected I'm going to open up a new window click on this button here and go to the

shader editor then I'm gonna hit end close off that panel for this ocean modifier.

I'm going to select my principal shader and set the transmission value all the way up to 1.

This will enable it to look like glass.

Then we need this set the roughness down to zero.

And we can see this is the effect and then the Iowa which we talked about in a previous video we're

going to be setting this to one point three three three for the base color.

I'm going to be setting this to a blue color and then I'm also going to darken this up.

So somewhere around there we'll look pretty good.

And as you can see here is starting to look like an ocean.

The next thing I'll do is I'll import that foam layer.

So to do this we're gonna give ourselves a little bit of room.

I'll press shift day add in a shader and then add shader place that right here.

Then I'll press shift a go to input and then attribute.

Now here is where we type in that name.

So if we take a look at our name here we have a phone.

So let's go ahead and type in the word phone.

And now if we add in a let's just move this a little bit over here.

If we add in another principal shader we'll go shader principled.

Right.

Here we take the color.

Plug it into the base and then take this output and plug it into the add shader we can see we have some

foam in our scene.

So what I'm going to do is bring up the transmission just a little bit and I'm also gonna set the Iowa

to one point three three three.

And the roughness all turned down to a value of point one.

Now that looks pretty good right now but you can't really see the foam too well.

So to fix that let's go ahead and press ship day and add an a color and then hue saturation node and

place that in between the attribute and the principal charter.

Now if we turn up this value to let's say for we can see the foam a lot better.

Another thing I'll do is I'll set the resolution to a higher number.

So let's go with 32

and once we do that we can see Blender is starting to slow down.

And there we can see a lot more detail in our foam and that is looking pretty sweet.

Now if you want more control over where the foam is what we can do is press ship day and add in a converter

and then color ramp.

I'll place that in between the hue saturation and the principle chatter.

If I drag this color ramp closer the Black Value closer to the White it'll clamp down on that foam.

And as you can see there's a lot less in our scene if I drag the white over it'll add more color or

more foam to our scene just like this and we can get some interesting results.

I'm gonna go with a little bit black because I think it's a little too much foam at the moment so I'll

drag it up just a tiny bit somewhere around there.

And that looks pretty neat.

Now that we've done that I think we are ready to render.

So I'm gonna go ahead and select that lab and press X and delete it.

Then I'll just close out this window right here.

The next thing I'll do is I'll present and go into solid view and find a find a frame that I like so

I'll just scroll through here a little bit and maybe I'll try 60 so frame is seventy seven is the one

that I like.

So this is the one that I will render.

So next I'll just position the camera somewhere around here I'll hit control alt and num pad zero to

snap camera to view command option zero on a Mac then all select my camera G middle mouse button and

drag it back until we can see the full ocean.

Now you might get this clipping right here and that is because blenders default setting and the camera

setting the end is set to 100 meters.

So currently that's longer than 100 meters away.

So we need to set the end value to let's say 500 in the camera settings right here and there we go we

can see the entire ocean now

so this frame looks pretty good.

Then I'll go over to the sampling.

I'll leave it at one hundred and twenty eight and everything else is perfectly fine.

Then what I'll do is I'll go through render and click on render image.

All right.

So here is our result that looks pretty good.

You can see the foam looks really nice.

So now you can go ahead and render this into an animation or just a regular image and send it to me.

I would love to see what you create.

Thank you for watching and I'll see you guys in the next section.