Datasets:

samfred2
/

ATO_TG

+{
+  "file": "2 - PBR Material Example.wav",
+  "transcription": {
+    "audio_file": "2%20-%20PBR%20Material%20Example.wav",
+    "text": "In this lesson, we will create a PBR material model using the example of floor panels. In the first step, before we start creating, I'll show you what my lighting settings look like. We will find them in the World tab. I will not discuss them in more detail here and will not focus on the technical aspect, what it is and why it should be so. Please make sure to use exactly the same parameters to accurately replicate what you see on the screen. We'll talk more about lighting in the upcoming lessons. I'll just say that we add the Sky Texture node by adding a node just like all the others. And after entering at the sky. Set the parameters exactly the same. Now we move on to creating the material. We select our floor panels and create a new material. The PBR material will be created based on the use of the principal BSDF node. This node has many options and I'll briefly discuss the ones that are the most important. The first option, which is the base color, determines how our material will look and what color it will have. Here, we can set any color we want in the color palette and this is also where we will connect our PBR color texture. The second option underneath is the metallic option which defines whether the material is metal or not. Values of 0 cause the material to be completely non-metallic, while a value of 1 causes the material to become metallic. In the thumbnail on the right, you can see how the appearance of our material changes depending on the parameters and values we set in the principle BSDF. Intermediate values are values that are not completely consistent from the point of view of physics, but sometimes there are specific situations where we need to influence our material in some way and we need to set something artificial. However, we will usually be working with values of 0 and 1. The next option is the Rones option. This option determines whether our material is glossy or matted. Rones at the value of 0. This means that the material is completely transparent and you can hardly see it in our scene. An alpha value of 1 means that the material is 100% visible. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. Alpha means that the material is completely transparent and you can hardly see it in our scene. An alpha value of 1 means that the material is 100% visible. Intermediate values are used in really very specific situations. Usually when it comes to PBR textures and PBR materials, the alpha value will be left at 1. Under the composition we have the normal option. The normal option is used to add bumpiness to our material. We will achieve these materials by combining the normal texture here with our PBR textures. How it looks in practice will be explained shortly. One more thing I want to mention is specular. Specular. If we expand the options there's something here called IOR level. The IOR level value defines how our material will reflect light. If we set the value to zero the material won't, it won't reflect light at all. And a value of 7 means it will reflect the most, if that's possible. As a rule of thumb a value of 0.5 is optimal and in most cases there is generally no need to bother with it. The remaining options are used more in specific types of materials, rather than in general materials, and PBR materials, so we won't go into detail about them here. We can add PBR textures to our material in many different ways. I'll show you a pretty convenient way. First, we need to go to Edit Preferences, and in the ADD tab we need to add something called Note Branda. We can save our settings by clicking Save Preferences. And then with the principal BSDF selected, it will be highlighted with a frame, such a white color we choose. The combination of keyboard shortcuts, CTRL-SHIFT-T. If we select that, a window will pop up to specify the directory for the textures. In our case, it's the Boomer3 directory, and we'll choose textures from the Flooring, Panels folder. We'll turn on the Preview and select the Color texture, the Roughness texture, and the Normal texture, Normal, with the GL suffix. After selecting the appropriate textures, Blender will automatically assign these textures and connect them to the places where they need to be plugged in. An important thing is that you always need to pay attention to is that color textures must have their color space set to sRGB for everything to display correctly. Bronze textures must have their color space set to non-color. And normal textures also need to be set to non-color. As you may have noticed, texture, the normal is not plugged directly into the normal slot. Instead, it goes through a node called the normal map. It is responsible for the proper display and use of these textures. In the normal map, we have an option called strength. This is the option that is responsible for like our normal. How strong will our the normal effect which is the effect of those subtle bumps the values can vary. It largely depends on the texture and the specific material. Sometimes color texture of our material, is simply a wood texture. The rones texture is very similar but it has shades of gray. And the normal texture is a texture that has shades of purple. As for rones and why this particular texture has various shades of gray, I'll explain that to you now. Let's disconnect this Rones for a moment. And we'll add a node in Hue Saturation value. We'll connect this node to the Rones. At this moment, we have the color set to completely white. The color is absolutely white. As you can see in the thumbnail, this makes our material very completely matte. This corresponds to a Rohn's value of 1. If we set the material in terms of both the texture and the color to entirely and absolutely black, we get the equivalent value. Rohn's O indeed means the material is completely shiny. And the Rohn's textures behave exactly the same way in that they are in shades of gray. Shades of gray, which are intermediate values in colors between white and black. They define to us the extent to which our material is shiny or matte. In areas where the texture is darker, the material is shinier. And in areas where the texture is lighter, where it's more white, the material is more matte. By using these textures, we achieve uneven reflections and our materials become much more interesting. Something cooler is happening, they just look better. This is important when we look at materials, up close, from a short distance. Because if the materials are set quite far in the scene and are practically invisible, we don't have to focus on them that much. Reflections themselves also affect the lighting and the angle of sunlight. At one's, and we can see that the material has very subtle reflections. Let's move on to the live preview. To do this, in order to, let's collapse the Blender Kit so that the Live Preview options are made visible. And we'll choose the fourth option currently, Viewport Shading. We'll get a preview of our viewport with the lighting that I mentioned at the very beginning. And we can see what's happening with our texture. How do we see some wood? It has appeared on our panels. However, we can notice that this wood looks quite strange. It looks very small with a very high repetition, and at first glance you can already see that something is off with the texture layout. Here we dive into the mapping option. However, we will cover mapping in a bit more detail in the upcoming lessons. Here we'll do a quick and simple mapping and I'll tell you how to do it. We need to select our panels and enter edit mode. Select all elements and under the key we have the UV mapping option. We choose the cube projection option which lays out the textures based on a cube. Thanks to this, our texture has laid out better, but we ended up with the effect of too much stretching of this texture. This wood is currently too large. At this stage, we can save ourselves by changing the scale in the Mapping node, because this node is responsible for, among other things, options like texture offset. So, we manipulate the values in the location x, y, z here, we can move this texture around to the right or to the left then in the x direction in the y direction. In the z direction at this point it will not be visible because we have red flat. A rather flat model. If we had a 3D model like a typical cube then in the direction, we could also juggle this texture and it's offset rotation meaning turning we can rotate this texture, okay for example 90 degrees, okay 45 degrees just the way we like it I'll leave this value at 0 and the scale the smaller the values are than 1, the more stretched the texture becomes. So a value of, for example, 0.2 will cause even more stretching of this texture. Values above that will cause the texture to shrink. Let's assume for the purposes of this lesson, values around... me. So that our texture is visible in a completely normal scale. The first thing I'm going to do regarding my material is change its shoulder. I'm not really a fan of this color, orangey. I would like it to be more brown and definitely less saturated. For this purpose, I will use the hue saturation value. I have a few options here that I can easily juggle. The first option is the hue option, which is responsible for the shade of our texture. A value of 0.5 is the starting value, and by moving it towards 1 or 2, we get different shades of our texture. I want to shift towards the hue more like this one. A bit more green, so I'll go with a value of 0.53, something more greenish, or maybe a bit more yellow, maybe. That's a better term. I definitely want to lower the saturation and I'll try a value of for example 0.6 to get a more neutral, more natural wood color. And I'll also lower the brightness because value is responsible for the brightness of the texture. We're trying with a value of 0.5. I think my material looks more or less how I wanted it to. Maybe I'll increase the value to 0.54, although the difference here isn't particularly significant. We need to keep in mind that right now in the scene we have a lot of white color, because we haven't assigned any materials like from the ceiling to the walls to the kitchen furniture. Everything we create and assign will have a direct impact on the color of our panels. If these materials are darker, because I anticipate that the wood in the kitchen will be dark wood, and the walls will be dark as well, it will automatically affect the overall look. This will mean that our panels will be darker and their appearance in the whole scene. The overall look of the scene will be darker. So right now, at this stage, we can create an initial and basic outline of our material. But any necessary adjustments will probably still be made once we have the materials throughout the scene. I'll show you now. A simple trick on how we can further differentiate the distribution of our texture depending on the specific panel. At this point, we can see that the texture is evenly distributed across the entire surface. And the transition between one panel and the other, when it comes to the texture, is very smooth and perfectly blended. In nature, it doesn't look like that, because the panels have their own patterns and are arranged randomly. So, the distribution of textures on each of the panels is just different, and there are practically no smooth transitions. We can do something like this very easily. We need to find a node called Geometry. And here we have an option called Random Per Island. This option essentially means that on each element, whatever we define through it will behave absolutely and entirely randomly. And in this case, we'll connect Random Per Island to the location in the Mapping node. Thanks to this mapping, or the texturing on each object is completely random. And we can see that there are no longer those very smooth connections, those unnatural connections. Each panel behaves completely separately. Thanks to this, everything looks just like in the real world. The geometry node with the random per island option, we can also use this if we want to vary the brightness of each of the panels. I would like to introduce a subtle difference in brightness so that our panels look a bit more natural, not that they all have to be perfectly the same brightness. We can simply and efficiently do this by searching for a node called mix. We have the factor option, option A and option B. In option A and B, we'll assign the values that we want to be in the value. So for instance, a value of approximately 0.45. Let's set the value to 0.65. We'll connect the results to the value, and then we'll connect the random per island to the octo factor, the Parachute option. This way we achieve variation in brightness on each of the panels, completely random. In the range from 0.45 to 0.65, we can essentially apply the same technique when it comes to hue and also saturation. However, in this case I won't be doing that. On our texture we can also use a node like brightness, contrast, and connect it between the texture and hue, saturation value. We can gently play around with the contrast to bring out a bit more detail from our texture, but we need to be careful with the values because it's very easy to overdo it and end up with some pretty strange and exaggerated effects. Let's try with the value 0.2. We'll compare this with a value of 1. And we can see that the difference isn't spectacular, but there's a subtle texture coming through that I personally really like. Indeed, for comparison, if we use a value, for example, 3, so we can see that the texture becomes very vivid, but that's not quite the effect I'm looking for. Now this is an example of a very subtle boost, so a value of 0.2 or 0.3 would be the optimal value here. The brightness and contrast node, we can also juggle if we want it. We can also use it if we want to boost the highlights a bit. Let's use the value one. We'll do some close-ups. And I think this spot there's a distinctive wave here. And here along the grains. You can see how our texture is behaving now. Rones. A A value of 0 makes the reflections flat and straightforward. And using a value of 1. It makes something here in these areas stronger. The reflections are even more varied. We can try with higher values for example 3, but then the reflections are definitely too strong and in my opinion overdone. It's important to remember that we still have quite a bit of white colour. In our scene, if everything is darker, these reflections will become even more exaggerated. I want to avoid that kind of effect, so I think a contrast value of one will be the optimal value. If needed, we can always adjust this later on. We can still work with the brightness value, but I'm not sure if it will help us in this case. Let's try with the value of minus 1. This value of minus 1 makes our panels behave like frosted glass, so that's definitely not the effect we're looking for. Values above 0. They cause our panels to be completely matte and the reflections disappear. I think I won't leave it at a value of 0. Eventually it could be a very small negative value, just to slightly boost those reflections, but really very subtly. I wouldn't look for more here. When it comes to the normal, in this case, a value of 1 seems fine. We don't see any very sharp bends or very pronounced ones here. We can try with a value of 0.1. But in the case of this texture, there's practically no difference between these values. So I can leave the strength of my normal map to a value of 1. When it comes to creating PBR materials, those are all the points I wanted to cover and share with you. In the next lesson, I'll show you what the other materials in the scene that I created look like. I won't be creating them live. I will briefly discuss what textures are used and what values are assigned in the individual settings.",
+    "language": "en",
+    "duration": 1238.6,
+    "timestamp": "2025-12-10T17:50:09.159698"
+  },
+  "timestamp": "2025-12-10T17:50:09.167203",
+  "processing_time_seconds": 243.23298406600952
+}