Author Topic: [RESOLVED] Advanced Edgewear  (Read 3682 times)

0 Members and 1 Guest are viewing this topic.

Offline cjwidd

[RESOLVED] Advanced Edgewear
« on: September 22, 2017, 02:04:04 am »
This and this tutorial have been great starting points, but there are some unanswered questions.

Take a look at the attached images (artwork by Wouter Gort and Paul Dave, respectively) . I'd like to point out the radius (spread) of the edgewear which is not easily achieved using a curvature or occlusion mask (or is it?). You can see my progress so far in the attached image where I am [sum] blending the curvature mask and a bitmap texture.

The question is:
1. How to grow the selected curvature mask to effect a larger radius?
No solution exists

2. How to use the masked area as a bump map to give the impression that the painted area is raised (on top of) the metal area

EDIT: Why can't a color adjust node be passed into a bump channel?
Answer: Maybe in future release

« Last Edit: September 25, 2017, 03:19:41 pm by cjwidd »

Offline cjwidd

Re: Advanced Edgewear
« Reply #1 on: September 22, 2017, 04:27:25 am »
Answer to #2 (partial):
Answer to #1: advanced edge-wear in post (Photoshop)
« Last Edit: September 25, 2017, 03:20:20 pm by cjwidd »

Offline mattjgerard

Re: Advanced Edgewear
« Reply #2 on: September 22, 2017, 06:31:50 am »
I am as well wondering why some nodes can't be passed to others, when it seems it should work. Would be nice to have a reference graph of which ones can be passed to which, and which inputs are looking for what type of data.

Offline cjwidd

Re: Advanced Edgewear
« Reply #3 on: September 22, 2017, 08:08:06 am »
So I didn't realize this - although it makes sense - but the renderer really has to chew on mid-gray values when processing layered textures. In addition, the product and interior rendering options do not converge on identical solutions after a comparable render time (see image 1 and 2).

For example, in the first image, there is simply a plastic material in the label of a metallic material. Render cranks out in ~1:30. In the second image, the material graph (see image 3) contains some additional bump and roughness data to define the material layers and takes 2 hours to reach the sample quality of the first image (see image 4). However, there is much more complexity in the image due to brightness / contrast properties of the texture that is driving the surface imperfections. Specifically, the texture had a brightness of 1 and contrast of 10 (see image 5), but with a brightness of 10 and contrast of 10 (see image 6), the render resolves *much* more rapidly (see image 7).