 Okay It's a crowded place It's my first Blender conference. I'm from Buenos Aires, Argentina So also it's the first time I'm speaking for people. So it's a combination that you know, bear with me. Okay, please Thanks. Thanks. Thanks. So the idea behind the talk that I wanted to to share with you is that I Think we are missing for tutorials or we are missing for some comments or we are missing for some in-depth Thoughts about how to get photorealism, but inside architecture or any other kind of matter, you know, so the idea is to discuss how to think about The implicit subject, you know that that that thing that is not in the scene But we will have to think or imagine that it was there So you you can present your protagonist With a history because the idea behind what I will explain is I want to share Architectural renderings without people. I don't like people like in the renders in real life I mean, I like it kind of but in the renderings. I don't like it at all So I'm trying to tell stories without people. That's the idea So how to that how to do that? I need to understand what's happening with each asset I will try to start with randomization. This is like a theoretical part that I I Completely did not prepare this today. No, this was something I made like three months ago and it was in the making so randomization When we think the random concept even if we understand what it means when we do it in 3d Or we prepare it on or we see it on maybe shows TV shows movies For example a street with leaves on the street What we will find is that the leaves are like spread it evenly in the like in in the car side or in the street So what we need to understand is what's happening with those leaves why those leaves are there and For example elements like the wind how the wind interacts with those leaves and how the currents or how Where those leaves will be placed with this kind of assets is the same When we try to recreate a moment of reality, we will realize how little we really know about that I mean, you can think how to make a chair or a door or whatever you you want to make And if you try and start doing that in blender or in this case in blender, of course After you finish that asset you will find that it's not looking great. It's not looking nice And that's why we we are missing Like that implicit element that implicit subject that was affecting before that kind of asset so we can only try to imagine how this element interacts with other but The idea is that we forget how about the elements that are not there And this is precisely these elements that activate and modify the asset we make I don't know how to go back, but I will do like this Real-world references of course these was a really say like a thousand times the idea of search for References outside go outside with the camera and took pictures and whatever you can do it inside Of course is the same that outside, but you can do it in your underwear as I do So the idea is that search for every kind of Material that you will create search it first on reality search it online and Try to see how those elements look when the weather went through those or where I know with the water Interacted with those and those kind of things. So as you can see the idea behind is to understand Go deeply with the thought of how The things happen in reality how the world change the materials We are gonna produce and this is something that I'm not seeing Outside like in in every rendering when I go and scroll on our station or blender artists or whatever you scroll with My idea is to find the best art Architectural rendering and I struggle with that because there is always something missing even on my works when I see my works It's always there's always something missing. I will show you My portfolio real quickly so you can see what I do and this of course you already saw This is a sink that I created This is a render in blender This is the part that the photo that I took as a reference So my idea was to create this render based on this photo and try to mimic everything I think if I see this like in retrospective, I can see that maybe the chrome was not there But you know, sometimes you need to finish the project because you will be working with it like for years. I Will show you what a project that I'm making for years and I'm still not happy Of course, this is a clay render Always when you create something like an asset try to put it in a context if you are creating this kind of facet or whatever created in a context that shows Where though that faucet is or where that asset is from where it comes and maybe you can Try to understand the context of the design in this case I think it's great because You have like an old faucet in a morning sign and always try to have and we will see later how to do it Try to have the camera as a view camera as a like a flying person and try to take as many shots as you can using a good lens and using the The depth of field those three or four things will make you create a lot of content. So that's the idea You can see both how it looks I mean, it's really close, but it's not perfect. Okay, so then This is a project that I made in a low key environment This I have more examples like with more light in case the light is not good here But the idea behind it was to create something with low lights But good textures and try to understand how to do it. This was done in seven eight days Because I tried to create everything Like modulary and we are gonna see now or after actually how those cans were created with the shader How you can create one single can what one single shader? And then you can instance that can as an empty or as an instance in another scene And every time you duplicate that can you will have different different label different scratch and stuff And that will be fun to see So of course this was created in a time of confinement like we all did so You can see how the press I was During this time like the cloth is not wash I mean, I didn't have even cable or Netflix or nothing. So it was a really boring basement there And even I was counting the days as you can see here. Like my god. Okay, so Here's the candle we will see later and our work that we can see is this one This was the example that I was looking for this is a house in the hood I created for some like author of a book that wanted a you know a trailer and This was created like a long time ago You can see in the street the same thing that I just said at the beginning was not done in this render I mean, I was thinking about let's Pick some render from people on the web and criticize them But I won't do that because I mean it's not my place So I will take mine and I will destroy it because that's what I do if you can see the leaves on the on the on the car side on sidewalk Like it's it's random because I didn't use any pattern But it's evenly spread during all like through all the the sidewalk. So that's a mistake And that's what I'm talking about the same is Between the street and the car side. They should be like that's the place where the leaves should be or maybe Here or here or here, you know, like you have to understand how the wind will go and flow through the street and how So I don't like this project anymore so I remove it from my portfolio That's another advice that I can give you if you don't like Like your project anymore or you think that this project is not good Remove it remove it for good and don't show it when you ask for work and whatever. No, no remove it because If you can't sell it To I don't know to yourself. You will be not able to sell it to a client or to a potential, you know Employer Okay, so going further This was like the first of my really serious interiors and you can see here how I just How you know the artists that are not like wanting to to create a lot of assets if they hide behind the I Created a minimalistic design or I created Nordic style like everything is Nordic now because I don't want to create nothing So that's the idea and this is the idea Even though I'm in love with wood floors as you can see you will see in the next project. I mean, I think the wood Shows a lot of the place. I mean the wood the floor Will show what happened in that place? How many people walk in that place? They were like people who lived The chair to sit or like me. They just drag it away So that's the idea behind it and if you create scratches don't create it everywhere Just think where those scratches will be like they will be behind the table. They will be behind chairs But then there's no place to put it like behind the the thing that I don't know what what is called in English Be and like below the window the stuff. I think I don't know so the idea is think through The the history of the of the element the history of the interior Think what happened there think the history and make the assets the protagonist if you if you create like an Environment or like a history for each asset you will have like an ecosystem of of a little architecture design that you will be able to make little close-ups for everything so that's that's the idea behind the the implied subject or In Spanish is sujeto tacito is like I don't know the the the subject that Is there, but you don't name it in this case what it was there But you don't see it because you already left or whatever so when when I Thought about this like I rounded up this idea was in the market and Inside the the blender conference, and I was checking up the tables And you can see that if I made you draw the table or making blender the tables now you will make Just wouldn't worse with the I don't know with the legs and whatever But if you really see and after when we are gonna go to have a drink or whatever Check the tables check the history behind the tables I mean check the them them the peeling paint and the rusty screws and the small scratches I mean things that happen there you can really see how many people were in those kind of places Just for looking I mean and that's the idea behind a great artist If you are a good artist because you want to make art and make money or whatever or work in the industry That's fine. I'm one of you. I mean I'm not doing this out of nowhere, but If you want to create the best art possible you will Have to start looking the like what's happening outside and I don't want to get philosophical But this will help your life as well. No, I'm kidding. I'm kidding. It's not that Okay, so going back to the first one Artistic freedom according to the famous Disney paper I mean you guys I'm ready the ones who already know something about PBR Already read the the Disney paper who led us to the PBR system that you are using now or the principle shader actually and in there what they said is The run the roughness is one of the values inside the PBR Roughness is what controls actually how I'm I don't know reflective a surface is By by creating this kind of bumpiness in the micro facet But actually it's not like creating or simulating even angles like the normals or hate It's just creating different reflectivity on the maps So in the Disney paper says that that's the only creative way Or the only creative map that you can use however you like without thinking about the technical stuff I mean you can go crazy with that factor and that's because in there it hides the personality of each asset But I will say that they were wrong No, no, I will not say that but I mean I will add that then The hate map and the normal map There are so I mean even if technically you need to have a certain kind of map like a normal map or whatever I mean you can tell the story of an asset with that Piece of the map like the hate map and the normal map those maps are even More important than the roughness map But I mean I'm good with with both but I want you to to Take it from here that you need to work or you need to work your roughness map a lot. I mean Sometimes with I mean with principle node setup in blender when you add a Shader you go control shift T on the principle shader and then pick all the like the texture setup And you put it there and that's it and that's the map Well, no you have to work on the roughness map a lot to make it good look good so This is the way we will be finding the story we are looking for okay, then Let's go with the blender time. Let's go on blender. I will show you some stuff and let's see what happens there This is the improvised part so Prepare for troubles. Okay, so this is the kind I was talking about This is an asset that I created for the scene for the basement scene and you can see the notes here I Prepared it I took the time with frames and reroutes you should thank me because this is not my workflow You know, I will show you my workflow and this is not it so really appreciate it The idea behind this can Is that you can duplicate it? You know a few times and the label will change and the the way the label is still will change as well and This will create like an infinite amount if you want of variations on these cans and this works if you take this can and Instance it in another scene so the instance is like a ghost for the blender If you duplicate this can you will duplicate the mesh and everything that is inside If you take this can and use it as an instance in another scene You will have like a ghost of the same can you will have an improvement on On the capacity for blender to render that can and you will be able to duplicate it several times without losing any Empower on the or adding any VRAM for the for the GPU or whatever. So that's a good idea and this happens This this shader works for the instance too. So How is this done? The idea is to create. I'm not a I'm not like Simon Thomas. He's the like he really knows I'm just Like goofing around with the notes But what I came up with is I have three random notes here. I Know if this is even seeable like if you Yeah, so the idea behind the random notes even for a thing is that Whenever you duplicate something it will try to Select from each of these random values and the random values will be decided for binary system of black and white So if I put this object info as a factor with the random value on a color ramp What it will happen is that If I duplicate the can the next can will be black and the next will be like it's a 50 chance probability of Every can to be white or to be black So that's the idea behind it and I think if you know something about shaders, you know that from here It's just keep moving around So The same idea like four times or three four times and then what I just did is add Like a label. So you have this label you have this label this label and then a mix and their color ramp Was put it on that mix. So now whenever I have like the chance to select everything What it will happen is sometimes you will pick this one Like I'm 50% of the time and if I duplicate in this case we happen the same This is happening because The the amount of probabilities on these labels are decided on Where this color ramp is located if you change the color ramp slider like if you go more black than more White you will give the black or the white more chances to appear. So That's why after everything you see here. What I created is a system that you can randomize Almost evenly every can So now you have the labels what you need to do now is create the peeling. So that's why I went to the peeling And the peeling was created. Let me check where here. So I do the same The peeling is just a mass grave. I think or I don't know or Or this texture, I don't know which which is actually The texture for that even if I prepare this and I knew it this will okay, so the noise texture you is working like with the same principle with the randoms and It's changing its location instead of change like How it is I just change it Where it is because the noise texture will work like in all the space for those guns and That's why or how I got this result I know that everything like every every like conference had the questions at the end But I know that this is like something I don't want everybody to get sleep So do you have any questions on this regard? You can raise your hand. I mean, I don't care We are okay. Okay Okay, I'm explaining well them and This Can Was here. This is the scene that we saw before you can see all the instances that I have here What I should do is I should Maybe go to the instance and make the size Smaller so I don't have those kind of empties but here you can see that The weight of the scene is not I mean it's nothing I can go to render view and this is what I Give my shamp of faith, you know, because I press the render view and now we see if this crashes or not No, it didn't good so You can see how you can duplicate this can this is an instance You can duplicate the instance and you will have automatically another can and you can do this for all the assets You need to populate the scene and you can see how I even work on the roughness to give personality to the Chrome and I Prepared a story so every can had a story in the peeling is going down What I will do now if I took this project now what I will do is I will create a gradient from from the bottom to the top and Peel the the can from bottom to top I will add some kind of roughness or some kind of things that affect Thinking about the world not just adding noises like a crazy man and This is a wine called Angelica Zapata is the best wine in Argentina So if you ever go there go and taste it is really really tasty It's expensive, but for you you will be fine Okay, so I Will go to the presentation And the last thing here Before keeping working with blender will be a few comments about feedback feedback. I have a YouTube channel I'm not using it anymore. I mean I'm using it like very low now But I had some talks with some really interesting people in the industry like I talk with People you may know like Sergei Cavalier I mean I don't want to say any names because maybe I will say it wrong But a lot of people in the industry and what they told me is the feedback What happens with the feedback? It's the feedback good for you is the feedback bar for you What should do? What should you do with the feedback with your work? Should you should hear everything you shouldn't hear nothing? Well the thing is that The constructive feedback that you will you will be looking for is not out there. I mean you won't find it Maybe you will find it sometimes from some people and you respect or maybe you don't What I can advise is you just post and ghost like put it there Close the gap on your mind and then disappear from that and let the work do its work And don't let your ego or your thoughts like go in the middle of what should I do with this? Should I reply because someone says the normals are inverted and I should say no no no no I shouldn't do nothing like that. Yeah, the normals are infected. Well, what can I do? I can't go and unposted and reposted so post and ghost if we are happy with the work post and ghost and the other thing that I can advise as well is You should keep Like notes on your oldest on your old work. So this is these are my old work that I will show you This is the first Interior scene that I did this was my first like home and I created in blender 2.42 something like that like 2006 and You can see it's blended internal for those who doesn't know what's blended internal. It was the engine before cycles And it was very very bad. So this is another a Halfway that I created like this is the first hardware that I created and this is Omero Simpson like going for a UFO, you know So you should keep these because that's the only way you will see how far you go because If you don't look at your old work and show it proudly you will not ever See your present work or your current work as a good work, you know, look at this. I Can even start to design is this is awful But it's mine and I stand it before it, you know, so now I post and ghost Okay So behind The next door we will find this scene and I will try to show you how I approach the the the shaders on each part And you know for texturing the best way is to have everything UV and Who enjoys doing the UV? Somebody here enjoys UV one two three four five Okay Me neither but but Look at this This must be like in in a in a forum like this is a new be apartment I never do this. I always work in box and project the mapping but I did it for the presentation So this is another thing that I did for you guys I Will give you three add-ons that you can use to make it easier if you don't enjoy it as myself and Those add-ons are the next ones. Maybe you already know it. Maybe you don't but The first add-on will be text tools Text tool is a great add-on for UV. It's awesome and you have Actually, I use just one single thing on this add-on So I'm saying is awesome, but I just use this button that says rectify rectify will rectify everything And that's magical because I don't need to go S-i-o anymore. So text tools. It's great Textal density. It's a great add-on. It will make Every every object with its own UV have the same textile density And that's something that you should keep an eye on because the same textile density will allow you to have the same detail on the same close-ups Do you guys know what textile density is? Yes, raise your hand. Yeah, that's a good idea. Raise your hand. One two. Yeah Okay, textile density what I will explain you the best way as they can but the idea is The amounts of pixels inside the UV grid or the UV textures Will be defined by the by the UV island if you have a UV island taking Everything but it is a small part of the building, but it takes everything You will have a high textile density and if you for example now, I'm explaining very very wrong. So I will do it like this This floor Has this textile density and you can see here is 0.64 pixel Percentimeter, right? If I go with the S-i scale this what I will do is I will change Its textile density and you can see how the squares are little. So are going even even even little What happens with this? We will have The the texture that is in the UV will be repeated more times inside the floor So more quality will have because a 4k Texture repeated a lot of times in here You will need to be super close to start seeing the pixels if you have the same texture But your UV island is small you will start seeing the the pixels on that UV texture, right? so Once you are happy with it with with the UV island and with the textile density You will have to check that for example if I decided that this is a good textile density for the floor and for the wood But maybe the wall has a big UV and I will start seeing from this angle like them the pixel from the wall That will be a mistake So the idea is to have the same textile density on both Objects and this is what these add on dust. So let's select For example, I will put it like this and I will take the wall The wall has a textile density of 0.64 9 So I will calculate it again. Maybe I will scale it a bit Calculate the text density you can see how it changed now It's 0.63 and then I will put calculate and set value and then calculate and select value You can see how the set textile density value now got changed to this density that we have So now we can go to the this object the floor and we can just put set my textile density And that will do the work for you So you don't have to make a balling no more You can just select the textile density that you need and you can set it for all the objects on the scene So that's a good idea And the other one that I want to show you I mean this I'm sure you know it is the UV pack master When you are working for the game industry You need to pack or you need to bake every texture set and then you need to pack it and Do it in the in the fbx to make it work for the game industry. That's the usual workflow Now I don't know. Maybe it's the gltf. It's not not anymore the fbx But what you can do here is you can pack everything in the ubi island. So if you have One ubi island outside of the ubi grid just putting back it goes inside the ubi grid And if you have Like this a lot of things you can pack it and it will find the best the optimised Space for each island inside the scene So it will accommodate itself everything in there. So you know how to do the work So for the people who doesn't or who don't enjoy this kind of work on ubi. Okay, this is a good Way to avoid that problem because I mean I did this in 10 minutes. Okay, so Which is the first Part like the first step to create a texture We all know that with the note Wrangler activated we can go control shift T over this principle Shader and you will open the principle texture setup That It's a way to tell you that you can pick all the textures that you need and Automatically will be put in the principle shader, right? So let's pick for example the wood floor that is here. I Think these are all the wood floors Maybe this as well And I will go principle extra and everything goes there. We just one click I Don't think that this is the proper floor Anyway, so I will check now. This is not the proper. So I will take everything Or we go back. Ah, this is the one this I think this one and this one and this one See Okay This is super super big. So what we can do is we already have the ubi map decided So I don't want to mess with that. So I will take it from here and put it However, I want now the displacement is there And it's super strong. So you can go down with displacement and the bump It's also super strong. So you can go even to zero and from zero That's another advice that I can give you from zero. You can start seeing what's happening Evie is not a good idea to use for the final rendering because Evie is not I hope Clement doesn't hear me, but Evie is not Showing showing you the actual reality behind the bump. No, so I I recommend to go to cycles view And this is what you are gonna see Let me yeah, so From here, you will think that this is already done. You already have everything set up You can go to the walls now. So no, the idea is that you don't have nothing yet What you will do is you will take this all over the way and start working with the ones That a blender doesn't recognize that is the amyntocclusion you can put them at the amyntocclusion here multiplying To have a bit of distortion of the color and you can start working through the maps There is something really really important behind the maps and the blending of the maps and it's them the mixing or the color mix or the math node Every every node has has its own blending mode and Whoever uses Photoshop or whatever It's already and familiarize it with this but maybe When I started what I do or what I have done in the past is just going like this Let's do it with a real example. So this is the roughness, right? As you can see the glossy is inverted to create roughness and It's set it as non-color data, of course and let's add Something else to play with so let's add a color mix here. Let's add a Image texture. I'm gonna look for whatever. I don't care. So maybe This stain liquid You can see how the stain liquid is using the same UV as The as the UV map of the floor if you need because you have an stencil of you have something to add on the floor If you need to create another UV map, you can go here and add an UV map. You can put here I don't know stains and then from here you go input UV map and Blender will let you select the stains UV map So now if you go here and go to the UV map editor If you change these stains UV map It will affect that texture, but the UV map that the other texture is using will remain the same So you don't have to bother anymore The only thing it will affect this UV map is the one you connected with this UV map node. Okay So now let's put this as a non-color. Of course let's add it here and I Want to know if any of you Have founded themselves doing this like I don't know what I'm doing but If I found something that I like I will remain there Well, this is not a good of course a good practice to do that I have a resource to share as well. Let me In my share folder Is the pixel math I Don't know if I can I won't share anything. I'm just she showing you which is the book This is a an NPR book. No photorealistic shading book called in pixel math It's out there. I mean you can find I think it's nine dollars or something like this And it's a great resource to understand what's happening behind the blending modes, and I will show you just the first one You have here the actual Mathematics behind the factors and you can see how the factor works as factor plus FAC M equals one so You can see how this later from zero to one reacts on This mathematical equation. So We all know that Zero is black and one is white. So that's how the blending mode works if zero is black and It's zero and it's the slider is all in this Like is at the top of zero you will just show the color one That's the only thing that you will show you will show color one I will create really quickly just with colors to see so With zero you will find just the the red and with one you will find just the blue That's the idea that that's it for the mix. This is just for the mix So if you put these kind of maps with black and whites Let's crunch the contrast a bit What it will happen is that you will have black and map spots and The black part will be the first slider and the white part with the second slider So this is the principle behind this kind of blending mode on the mix So if you put it here, you will see blacks and whites and you can control it However, you want or you need right? This is the idea behind it But if we are gonna use these together instead of a mix because what you can do here is you can put like roughness like this and You can try to put This map as a factor and now you can decide in the white spots on the under on that alpha map or What can you affect like okay in the black in the white spots? I want some blue or in the white spots. I want some red or whatever. I'm not using this Like this at all what I'm kind I can do is I can take the same reroute node to the color to and now I have like the same kind of Texture on both But what I can do now is I can add like a RGB curves Here on the on the second slot and if I go down I can start Creating some extra smudge on the roughness map. So that's the idea behind this kind of Working through the roughness the most you work with this more personality It will have the floor or it will have whatever you work with and I can Advise something else whatever you don't you do with the roughness map. I Think you should do it as well with the color. So if you have The color here, let's put the mix over the color. Yeah, and let's put this Same node on the mix and let's do the same here You will have a single color like a single and wood floor now Like this is very boring But if you add a color ramp or a RGB curve here and go down with it You will start seeing like this kind of floor will be Stain and you have an infinity way to add Details scratches, whatever you have whatever you found So what I can recommend is to have a big library of alpha maps. That's or I don't know Dirty or smudges or stains, whatever you have Scratches as well to to start preparing every every asset every Every floor every every wall every roof every chair Whatever you prepare you should do this kind of work with each asset When you see when you post your work and your work is not as good as you think it will be or you know It doesn't have like the traction that you think it should have maybe start thinking about this thinking, okay? Did I put the effort that I should put on on each asset that I created? Because as you as we know whenever we post something in online People will scroll your your work like and it will be two seconds. Maybe three seconds like it will do Okay, this is awesome, and it will go away I think that those seconds needs to be like the result or the product of how many hours You spent on that work So for example, if you spend 10 hours like a half of a second is okay if you spend a hundred hours You will get three seconds. I'm sure I'm sure you will have three seconds You know and three seconds is a lot. I mean I don't even spend three seconds in nothing now, so Spend as much as you can on each asset and tell the story that you need to I mean now you can see This is was random less and this was not okay because I just put stains there What you should do is you maybe can create some painting like with the hand paint and hand painting on the on the on the doors or maybe you can use something like Our friend this is very good. You can go here and use ambient occlusion If you use ambient occlusion what you will see is you will have like a little map between The what happens between the door the wall on the floor you will start seeing like a little map You can go to a color ramp and you can make that appear, right? so What we have learned so far this can be a mask now, so let's put Now I'm just Improving so let's just put this Mask of stains there In that part between the wall and on the floor How can that be done? Okay, let's use this Mask or this map as a mask, so I will put it here To see it clearly, let's put black and white Okay, so now we know that if we put anything Any texture on the first lot it will be here and the other Texture in the second slot will be here so we can try To use the same principle that you we use before Let's remove this and you can go here and here, right? so now if you Go on the color Archive curve and you go down You will have just the entire mask there, right? So now the mask is in this case is on the other side We should work on the first one, right? So in this one So you have the stains there now you just need to put the Stains a pattern on that instead of that kind of thing. So how can we do that? We choose combine with a mix this stain here, right? And now we choose we want to isolate this part and how can we do that? Okay? If this is white and this is black and now we'll do a Mathematical operation here if I go on the mix this will be zero for the mask and this will be One it will be the pattern the same pattern, but what we can do is I can invert this Like this I will have white and black and then I can multiply Whatever I'm seeing on the other map And when the multiplication Begins, let me yeah like this We will just have the stains there and we can define how Strong that stain eats we can even change how this is interpolate with maybe an ease and Like this we can just isolate whatever we have there and If we now put this Here I Mesh it up again because now we have White and black. Okay, so now white is down We can start to see the stains there and we can also try to Put this on the roughness map and roughen them up will be also like this and you will see the stains there I mean it's not even noticeable I'm know that I spent a lot of time on something that you won't see but I see and that's the important Part, you know that I am seeing it and I am loving it and this pixel is mine, so Do you have any question? Can we wrap it up because we start three minutes earlier and I don't have anything else to say. It's okay Thanks a lot. Thanks for watching and for a season