00:04 Hey, everybody.
00:05 Maarten from Quadspinner here.
00:07 And today we're going to be breaking down
this cool, snowy peak.
00:10 This is a setup that is quite versatile.
00:14 However, it's not the end
all. Be all of snowy mountains.
00:17 So too cool way of getting rock detail
with this cool slope snow.
00:22 However,
there will be many other ways to do this
00:24 and there's even new notes
coming out in the future.
00:28 Updates which will totally change the game
when it comes to snow.
00:32 So for now, let's get into this
and check out this pretty cool setup
00:36 I built here.
00:37 I kind of base it off of really high
altitude mountains where snow
00:41 is really caked on on steep areas and,
you know, clinging on because it's frozen.
00:47 But there's also, you know, rocky areas
that are protruding from it
00:51 either due to these steep, you know,
cliffs or just, you know, maybe wind
00:55 hitting this particular area
and blowing off snow.
00:59 Yeah, let's get started.
01:00 I'll turn down the resolution to to. Okay.
01:02 So we can just quickly go through this
and it doesn't have to load every time.
01:06 All right.
01:07 To start off, we're going to start
with a mountain primitive.
01:10 I used a height of two and I kind of,
you know, seed farmed in a sense,
01:15 until I found a nice seed where I got this
nice bulky, large shape.
01:20 Some will be different than others.
01:21 You know,
you kind of have to look for something
01:24 that you like when you start off.
01:26 Now, this is a very cool, bulky shape.
01:28 However, we're still missing
these really defining peaks that
01:32 I want to do in my in my mouth and shape.
01:34 So to get that, we're going to use
the very noisy for noise and amazing note.
01:38 You can get a lot of detail out of it.
01:39 And in our case, we're going to use it
to create that pool craggy peak look.
01:44 So we're going to put it to a scale
of point eight, which is a little smaller.
01:48 So we have more individual
little peaks coming out.
01:51 I put it to a deep Manhattan function.
01:54 It differs from the Euclidean function
because Euclidean is a bit
01:57 more exponential, has a bit more steep
rising slopes I can show you right here.
02:03 So you can see it has these very tiny,
sharp peaks
02:07 that kind of raise exponentially
while Manhattan is a lot more
02:12 equal in shape
and all the slopes seem to be
02:15 quite straight,
you know, like a linear growth in a sense.
02:19 I put the shape function or form
function to P,
02:22 and I don't think I touched any other
settings.
02:25 You can, if you want, turn down the game
clamped to hide a bit,
02:29 maybe the lower to jitter
if you're getting a really jittery look.
02:34 I would recommend just
02:35 playing around with the seed,
you know, see whatever seed works best.
02:39 After I got this one,
I get a radial gradient and put a
02:43 shaper of point five to it, which I
then multiply onto the board annoying.
02:47 So the edge node can do
this as well for you quite quickly.
02:50 However, I like this setup because I have
a bit more control on the actual falloff.
02:54 So if I go here and then change the shape,
02:59 you can see that I have a lot of control
03:03 and it's, yeah, I just like this
this timer setup.
03:06 It will always be zero borders,
you know, it won't overshoot the edge.
03:10 It will always have a zero at the edge.
03:14 However, I'm very much able
to control this fall off until I like it.
03:18 In my case, 4.5 work really well.
03:21 I felt like that was kind of aligning
with the slope of the var
03:25 noise itself,
so I have to have combined over.
03:28 So after I've multiplied that to
get a zero borders edge here,
03:32 I transposed
it on top of my mouth in shape.
03:36 So Transpose is kind of
like the new embed function.
03:38 So in Guy one, we had the embed inside
of the combined node.
03:42 Now we get transpose,
which also has the embed function,
03:46 but transpose is pretty much
just a better option too.
03:49 Yeah, I'm transposing this Vaughan
on top of my primitive
03:53 getting a very nice cool shape right here.
03:58 And again, if you don't like certain
parts of it, just go so far
04:01 on the var annoy or your primitive
and you know, see what you get.
04:05 It's very important
that you like your base shape.
04:08 If you don't like your base shape,
you're not going to like your mountain.
04:11 So yeah,
04:13 now that we have established
this cool shape,
04:16 we're going to actually get into erosion.
04:18 So I opted not to have any erosion
of my primitive.
04:21 I just use the basic function.
04:23 So we're going to have adding
04:24 we're going to add our own erosion
to quite early in the stack.
04:27 And I'm doing this because this will very
much be a shaping node in a sense.
04:31 So erosion too is very versatile,
very strong,
04:35 and it has a lot of effects on your shape.
04:37 So I personally like to put it more early
in the stack in what I call
04:42 the shaping area, because it creates
these big changes in my mountain.
04:47 If I have the erosion scale set higher,
you will get big valleys,
04:51 you know,
big river kind of details, big flows.
04:55 So you can, of course,
04:57 adjust the node to be very minimal
and very light effects.
04:60 But, you know, I love the erosion
to look in state creates a very believable
05:05 shape off of any, you know, primitives
that you threw together.
05:08 It's just that it's a very strong one,
a very strong notes.
05:11 I like to have it more earlier my stack
so it doesn't override any cool details
05:16 that have at it.
05:16 You know, if I added very cool cliffs
to this mountain already and then added
05:20 an erosion to note at the very end,
which then remove that cliff by,
05:25 you know, a flow going over it,
I would have been quite sad about it.
05:29 So I opt to put it
quite early in the stack.
05:33 And now let's talk about every setting.
05:35 I feel like the best way to cover
05:36 erosion too, is if I first explained
the settings individually
05:40 and then go over why I chose each one
for this specific mountain.
05:46 So what I'm going
05:46 to do is just add an erosion to right here
05:50 and we'll see base erosion to output.
05:53 So duration,
duration is quite self-explanatory.
05:57 It is pretty much how long this simulation
is running in erosion.
06:01 One we normally don't touch duration
as much since it's quite a heavy node,
06:05 and if we crank up the duration, we
are going to be waiting forever for that.
06:08 Note Finish duration in erosion
two is very, very manageable
06:13 because the node is just so quick.
06:14 So we can turn this up to 77
and we're going to get a super cool result
06:19 in no time.
06:21 It almost doesn't feel like you have to
wait any, you know,
06:23 any longer or a higher duration down
cutting.
06:27 Again, quite self-explanatory.
06:28 It is just how deep the grooves
will be from the erosion itself.
06:33 Erosion scale?
06:34 No, this is a very interesting
setting that a lot of people maybe
06:37 don't really touch or don't really know
what to do with erosion.
06:41 Scale kind of dictates
06:42 how much space is between each valley
or groove from the erosive flows.
06:47 So if we have it to a scale of a thousand,
it means that like, let's say
06:51 at a distance of every thousand,
06:53 we're going to have a large groove
come into our mountain.
06:55 Now, if we turn this down, we're
actually going to see a lot more grooves
06:59 start appearing.
07:00 You can see, especially in this Low
Valley area,
07:02 we're going to see
so many more small grooves.
07:05 And if we just keep cranking this down,
you're going
07:08 to get so much more detail now
and it's rain like this.
07:12 I think staying between the ranges of 1000
to 250 is probably your best bet.
07:18 Once you get around 200,
you're going to get a lot of cool detail.
07:22 Still, However,
if we go below 200 on a train
07:26 like this, it could be more
of a rock detailing effect.
07:29 So if we turn down to down cutting,
07:31 maybe we could see this as like
slabs of rock being cut into our terrain.
07:34 All in all, it's a very powerful setting.
07:37 Definitely play around
with the erosion scale.
07:39 You're going to get so many different
variants of your terrain.
07:42 In my case, I use 250.
07:44 I really like the effect that I got
with that.
07:47 And yeah, all I can say
07:49 is kind of recommend playing around
with this setting specifically enough.
07:53 So now I'm going to cover the sediment
07:54 discharge settings correctly suspended
load by load and course sediments.
07:58 So to summarize it, suspended
load is the lightest sediments.
08:02 They move very quickly over the terrain
and they don't really settle quickly.
08:06 So you won't really get big volume
of debris from this sediment discharge.
08:11 However, this sediment discharge
does have the greatest effect
08:14 on your terrain,
so that's why it's maxed out by default.
08:17 So this sediment, if you want to see it,
08:20 the best way to describe it is
it has a lot of effects on these grooves.
08:24 If we turn down the amount,
you'll see that
08:27 the grooves become less intense
and there'll be less of them.
08:30 The suspended angle is
kind of the threshold at which it starts.
08:34 So let's say a suspended angle of 24.
08:36 That means that the erosion
kind of starts at any slope
08:40 that is more than 24 degrees
and steepness.
08:43 If we turn this down to four,
you'll see there's actually a lot more
08:46 intense effect
of these small little grooves.
08:49 And if we turn it up, you'll see it's less
because there will be just less of that
08:54 flow happening.
08:55 I think right here
is probably a good way of showcasing it.
09:02 Okay,
so I'm just going to turn this off for now
09:03 and then we're going to cover the bed
load.
09:05 So the bed load is the
09:06 slightly less mobile, but still quite,
you know, pervasive sediments.
09:10 It creates sediments easily, but
these sediments only travel moderately.
09:14 Increasing this sedimentation
can help you create like tallis, you know,
09:18 these big talus flows
and other like deposits on your three.
09:22 It should be used kind of with care
because it can quickly become quite
09:25 overpowering, especially with the bed
angle being higher.
09:29 It can kind of cover your whole terrain.
09:30 Same as the core seven.
09:32 So that's increases
to one to be very noticeable.
09:37 It will be most noticeable
right down here.
09:39 Yeah.
09:40 So you'll see instantly
these valleys are filled with large flows
09:44 and if we increase the angle,
09:46 we'll see that the angle
of like these flows storing will increase
09:51 and you'll see that basically
09:52 the whole bottom of her mountain
at this point it's just becoming
09:55 very much a big pile of sediments
because it's very strong.
09:59 However, the next sediment setting
of course sediments really gives you
10:03 the rock flow or this big tallis scree,
as you can call it.
10:08 It kind of represents loose
soil, rocks, boulders and other loose
10:11 materials on it's rain that can create
these big impressive screens of tallis or,
10:17 you know, scree coming down.
10:19 These sediments kind of settle quickly
so they could stick onto your terrain,
10:23 you know, on a quite steep angle.
10:25 And yeah, they give you very interesting
sedimentation patterns.
10:29 So I'm just going to turn this up
all the way to one.
10:32 And right now it's not very noticeable
because the course angle is set to ten.
10:36 But if we increase this,
we're going to get more
10:40 and more of that showing up
10:45 and you'll notice that it settles quickly.
10:47 And what we mean by that
is that you can see that down here
10:51 there is no sedimentation,
there is no debris.
10:54 Right. There's no big pile of debris.
10:56 However, up here now
10:57 with this very steep angle, it's
almost all sticking to these cliffs.
11:01 So this is a very cool way of adding that
like rock flow that's
11:05 directly under a cliff.
11:08 So, yeah, if I turn this down again a bit,
11:12 there we go.
11:12 It's it's giving us the atlas right here
again, down below in the valleys.
11:18 It is not visible. It's up here.
11:20 So the difference between bed load
and coarse
11:23 sediments would really be the distance
it travels.
11:25 If we add some bed load to this now
we're going to get flows
11:29 running all the way into the valleys down
below the bed load will travel further
11:34 and thus, you know, end up down here
on the bottom of the mountain.
11:37 While the coarse sediments are
very sticky, they don't travel very far.
11:43 However, I would recommend not going over
11:47 30 on most cases
when you're using coarse sediments
11:50 because at that point
they start clinging a bit to like very,
11:53 very,
you know, almost impossibly steep slopes.
11:57 If that's what you want to have,
then absolutely go for it.
11:60 However, 30
normally gives you these very impressive
12:04 like talus flows on
pretty steep areas in my case.
12:07 Now, something to note here
is that the actual
12:09 strength of each sediment
discharge is not maxing out at one.
12:13 When you put them all to one,
it is actually a percentage thing where
12:18 if we set them all to one, each single
12:21 discharge will only be at a 33% strength.
12:25 So if we want to have a lot more bed load,
12:30 then we should
12:30 turn down the suspended load a little bit
and of course sediments a little bit
12:33 and that will then give our bed load
more space and a sense of more strength.
12:39 If we have everything set to one,
it will all be one third of the strength
12:43 in this sense. So hope that makes sense.
12:45 So to shape
controls are quite interesting.
12:47 They're basically a thermal effect that is
then thrown on top of your mountain
12:51 and helps blend your mountain
with the actual erosion a lot better.
12:54 However, you could turn it off
12:56 if you don't want it
to have a lot of effects.
12:58 Or you could just play around
with the settings
12:60 to make the effects lower
or just work for you.
13:04 There's quite a lot of controls
and you can really push it.
13:07 You can get some really wonky shapes
happening
13:10 when you push
these settings around the lot.
13:13 So a shape's at the zero
and wall sharpness and detail scale
13:17 to one, we'll just make sure
that it has no effect.
13:20 There's no effect here.
13:21 It is the base shape
just with your erosion added.
13:25 However, if we didn't
13:26 turn up this effect,
we can kind of see what happens.
13:30 It really is kind of like a thermal
erosion that is just kind of running down
13:34 your mountain shape
and smoothing it out a lot.
13:37 Now we have a lot of control,
so we'll just keep the shape at point five
13:40 and let's turn the sharpness down
2.1 or 2.11.
13:45 And yeah, we can see that
it has actually a lot less effect.
13:48 Now it is a lot more close
to our original terrain.
13:57 Just going to run three settings like this
so you can really visualize it.
14:00 There we go.
14:03 Okay, I'll just keep that at point
five as well now
14:06 and the detail scale.
14:08 So really and lower this
14:09 and you'll see that becomes
a lot more smooth out of its frame.
14:12 And of course, the higher it is, the more
of the details you're preserving as well.
14:16 So you could get
some pretty interesting settings
14:19 if we actually turn this up
and then lower the detail scale,
14:27 you can
kind of get these low poly mountains.
14:29 In a sense, this already looks very cool.
14:32 You get kind of like cliff detail here.
14:34 So this is what I mean
when I use the erosion
14:38 to as a shape or node, sometimes
in a sense, like I use it to create shapes
14:42 because again, it's very strong in erosion
and it can just give you
14:46 erosive detail on your mountain
like I did up here.
14:49 However, you can also get your primitive
and turn it into something
14:53 completely different.
14:54 This could be a very good primitive
as well, in a sense.
14:58 And then we can add
details on top of this again
15:00 and then add another erosion to actually
get some realistic shapes out of this.
15:05 Right now,
this is very smooth out, of course, and
15:09 it would
need a little bit of detailing to work.
15:12 However,
you can get these really cool shapes
15:15 just by playing with these shape
settings down here.
15:18 If I turn this up, what happens?
15:20 It becomes even more smoothed out
with Crazy Cliffs.
15:25 Yeah, I love it.
15:26 These are these little fun
little settings down here are very much
15:32 something you should try out
and play around with, because altogether
15:36 it can give you really cool
alpine shapes like this.
15:40 Yeah, very neat. Very neat.
15:43 However,
15:44 now that we've covered all the settings,
let's go into the settings I used.
15:49 So I turn down the duration to eight.
15:51 I just didn't need like as much erosion
on this terrain in the beginning just yet.
15:55 The down got into point
to the erosion scale to 250.
15:60 So I have a bit more different grooves
and stuff going on the suspended load.
16:04 I turn down 2.25
and I kept the angle at 15.
16:09 It just made the actual individual grooves
less deep and less aggressive.
16:13 I turned up the bed load
and bit angled a little bit
16:16 and just creating these tallis flows
and of course sediments.
16:19 I didn't need it because I was going
to add a layer of snow.
16:22 So adding a whole layer of scree
and tallis was not necessary.
16:26 The shape I kept it at zero point too,
however, did turn up the shape
16:30 sharpness and the shape detail scale
2.7 and point eight respectively.
16:34 So those are two settings
I'm using on this terrain.
16:38 I would say it's very much depending
on the actual primitive you have, how much
16:43 you know you want to be down cutting
and how deep you want the grooves to be.
16:47 So I play around with it.
16:48 I explain every setting now,
16:49 so I hope you actually are able
to kind of figure it out and
16:53 if you have any questions,
leave them in the comments.
16:55 But also there will be a separate video
on erosion to where we will
16:59 just deep dive
specifically into that node.
17:02 It might already be up on the channel
so you can check.
17:05 Otherwise
it will be coming soon after erosion.
17:07 Two, we're going to add a distance node.
17:10 I'm doing this just to kind of sharpen
down and grind down some of the peaks.
17:14 After adding this primitive,
17:16 there was a very steep cliffs over here
and this little peak is very pronounced.
17:22 And I kind of just wanted
to have everything kind of sharpened down.
17:26 So I added this distance node direction
set 24
17:32 and I turn to fall off down to 0.4.
17:34 And after that
17:36 I just made sure to set the influence 2.5
if I keep the influence that way.
17:40 And you can see it's a very,
very strong effect.
17:42 And of course this would be very hard
to work with afterwards.
17:46 It looks a little too mathematical, right?
17:48 So turning now to influence,
which is a setting we can add here,
17:52 2.5 kind of helps it blend with the actual
rocky terrain we have below it.
17:58 So let's get started
with this rock detail, a way to get rocky.
18:01 So I really like as the sandstone
node is very strong.
18:05 However, I do change a few things.
18:07 I upped the spacing to point to
it doesn't really work
18:11 the same way as fractal terracing,
where that will be very noticeable.
18:14 It still stays very detailed
with like micro details.
18:17 Well, the convexity I added
18:20 or the convexity I changed it 2.5.
18:24 It made the ridges a little sharper
and less bulgy and smooth,
18:28 a bit sharper, pronounced,
and then I turned to chaos.
18:32 So 2.4 I wish I could turn it up to one.
18:35 All of chaos.
18:36 The chaos is kind of like
this kind of crisscross pattern.
18:39 It's happening with the sandstone.
18:41 I really love it. It really
18:44 creates very, very cool rock detail.
18:47 And you're on your mountain afterwards.
18:49 It I worked at a tiny bit.
18:50 I actually had played around with the warp
strength a bit higher,
18:54 but I really do just like the detail
that the sandstone provided.
18:57 So just a tiny bit of warp roughness
at 2.6 strength.
19:02 So at the .05 in the size 2.01.
19:05 So it's a very light work.
19:07 I did turn the iterations to four,
so kind of walks
19:10 it four times in the sense
in different directions,
19:14 gives you quite interesting shapes.
19:16 It's more pronounced
on higher resolutions.
19:17 Of course,
19:19 at that point I select the slope.
19:22 I set it to a range of 50.
19:24 I invert it.
19:25 So again, in these settings right here
I choose and here I choose the invert.
19:30 And I had a blur of points.
19:31 One, I kind of do this
because if you don't blur your selection
19:36 or your mask, you can get
a lot of artifacts on the edges
19:40 When you like a lot of detail like this.
19:42 On a less detailed terrain,
you kind of want to blur the edges
19:45 so it blends well and you don't see
very noticeable Artifacting
19:50 between the areas where it is
and it isn't.
19:53 So you can really notice where it starts
and stops.
19:56 It's very smooth fall off.
19:58 So that
is our first little bit of rock detail.
20:02 So we're adding and then again,
same set up with the slope,
20:05 only a bit more blur right here
because the actual shape
20:10 that we're going to be
adding is a bit larger,
20:12 so we need a bit more fall off
so there's less Artifacting again,
20:16 the warp, we're going to add a warp
20:18 at a size of point 0 to 5
20:22 and then a strength of point five.
20:25 Pretty much everything is basic
except for the iterations we add four.
20:29 Again, I like four.
20:31 It seems that it then warps in every axis
and make sure that like, you know,
20:35 it's not like pushing
in one certain direction,
20:37 which can sometimes kind of happen
with warp.
20:40 Yeah, a size of .205 is quite large.
20:44 You'll get these big rock shapes
and the reason
20:49 why it's not all over two three
is because I set it to Max.
20:53 So it's not like denting our three
and it's only adding to it.
20:57 You can see
it's only adding these outcrops.
20:60 I really like using this
21:01 as a way to add outcrops
because it looks a lot more natural.
21:05 Yeah, this is a very natural way of
just getting outcrop
21:08 and cliff detail
and stuff in your terrain.
21:11 Again, if you have a terrain like this,
there is a very much
21:14 a recognizable pattern to it.
21:16 And using a warp like this will break up
that pattern as well.
21:20 You know like we don't have
just only got this very clean sandstone.
21:24 There's also a cliff here and there.
21:27 It's just popping up.
21:28 So that's how I did that.
21:31 And then I added a choke point.
21:33 So choke points you can add.
21:36 And then I named it shaping.
21:38 You can also add choke points
within the known here.
21:40 If you right click and insert choke point.
21:43 Choke points are very good.
21:44 They keep your graph
just kind of like organized.
21:46 You can move stuff around.
21:47 You can,
21:48 you know, if you have a lot of connections
to a choke point,
21:51 like at the texturing area,
it kind of helps if you have a choke point
21:55 because you can easily add stuff
behind it.
21:57 It's just a good way of of organizing
and keeping your graph manageable,
22:02 especially if you get to larger
graphs like this.
22:05 So that's the shaping done for this thing.
22:07 So let's move on to like the simulation
erosion area of our of our graph.
22:12 We're going to start off with snow.
22:14 So still love it.
22:17 We're actually going to get a new snow
node as well that will probably do
22:20 a lot more of the work
we'll do now with thermal to
22:24 not saying that this is now a outdated
workflow.
22:28 It's still very much
22:28 a interesting workflow and you can use it
in a lot of different ways.
22:32 But yeah, the new snow
node will will be very interesting
22:35 and could definitely be used
as well in this, in this kind of terrain.
22:40 However, using the old snow node,
22:43 we're going to set a few settings
to make sure that this snow sticks.
22:46 So normally when we have snow, it
kind of fills up these gully areas, right?
22:51 It doesn't really stick
to the peaks of your terrain.
22:54 We're going to fix this
by changing the slip off angle
22:57 and the adhered Snowmass.
22:59 So these slip off angles
normally set to 38.
23:01 I set at the 50
and the adhered Snowmass is set to 50
23:05 or 12 or something and I turn it to 20.
23:09 This will just give us a lot more
build up on steeper areas
23:12 and especially on kind of the ridges
on top of the mountain.
23:17 The intensity is turned up
a little bit. 2.3
23:21 the melt is very much something you have
to dial in specific to your terrain.
23:26 So the melt,
23:29 if I turn it off, you can see a lot
more of the rock is covered.
23:33 And if I put it 2.22,
which is where I was, it just exposes
23:37 a bit more of the rock.
23:39 So I would say play around with it,
see how your terrain looks and if you want
23:42 more or less rain covered by snow, there
you go.
23:45 Use the malfunction and the intensity
and that kind of stuff.
23:48 In my case, see that this snow line, 2.15.
23:51 So just kind of ends here.
23:53 Again, very much depends on your terrain
and whatever you need.
23:58 So moving on from that
24:00 series, two ways we can go about this.
24:04 So you can use slope
24:06 or we can use the actual snow
map and blur it.
24:09 So this is for thermal.
24:12 At this point,
Snow looks very cool, right?
24:15 However, it is a bit bulgy.
24:17 It's just a bit blobby.
24:20 I guess It just looks like a big, thick
layer of snow.
24:23 I want that high altitude
look where it's very much frozen
24:28 and the wind has been like blowing it
so much
24:31 that it freezes into these ice sheets
and it breaks it almost looks rocky.
24:35 It's very sharp looking.
24:37 And the way to get that is where thermal.
24:38 So right now on to Kate
doesn't look as sharp.
24:41 But trust me, a K 16
K, you'll have very nice sharp ridges
24:45 and a very nice
like yes, steep look to your snow.
24:50 However, there's different ways
we can go around this
24:52 because the thermal will also of course,
smooth out your rocky detail.
24:56 So if we use this snow
and then use a snow mask,
24:60 we can say that the thermal
should only work on the snow area.
25:03 Right. The snow area.
25:05 However, we do need to blur it.
25:06 Otherwise, we're going to get
a very obvious falloff between
25:09 the two, between the rock and the snow.
25:13 However, t is also a different way
you could do this.
25:15 You could use the slope,
25:18 which is also very much
25:19 a viable way of masking rocky areas.
25:22 There is something I should say is noting
that it will kind of expose any pattern.
25:28 So because we have the sandstone,
for example, the sandstone gives us
25:33 kind of like a terracing pattern,
which looks very cool.
25:36 But we also have, you know, these cool
like from the distance snow,
25:41 we have these cool kind of pillars
almost coming down from this cliff area.
25:47 If we use it,
doesn't really catch those pillars.
25:49 It only catches the Yeah,
fractal terracing from the sandstone node,
25:54 which if we then go in here,
we kind of lose that pillar.
25:58 It's still a little bit noticeable,
but you're losing a bit of detail there.
26:02 I would
26:03 say slope works quite well though
in a lot of cases.
26:06 However, for me this time
I chose to just take the snow mask
26:10 and set up the slope mask
and this kind of just
26:14 makes sure
that the actual rock detail is preserved
26:18 a little bit better and again, higher Rez
it will be a lot more detailed.
26:22 Yeah, this is this is the mask amusing.
26:25 And I'm putting that into the area.
26:26 Mask of thermal too.
26:28 So thermal two very interesting.
26:31 If we get to the base thermal
26:34 then we just connect these and then
26:37 you can kind of see
26:38 that it's not that strong,
26:41 you know, it doesn't have a big effect
if we just look at the base,
26:44 the base settings.
26:45 However, if we then turn up the duration,
the string
26:49 and the angle,
we're going to get a lot of effects here.
26:51 So strength, don't be scared.
26:53 Very go turned out up way high duration,
turn it up as well.
26:58 And now all of a sudden we're
26:59 getting really weird effects
and that's because the angle is quite low.
27:03 So the palace that it's creating
is laying really flat on our terrain,
27:08 which is kind of now carving out this
this mask.
27:11 It's becoming very noticeable
27:12 if we turn this up all the way
to 96, blending a bit better.
27:16 You can also turn down the anisotropy
27:20 and yeah, you'll see
27:23 it's already quite good.
27:24 And then we can remove some of the
sediments and turn down the feature scale
27:31 and we already have the look we want.
27:33 So duration quite self-explanatory,
just the length of the actual simulation,
27:38 it is somewhat like strength
27:40 in a sense that it, you know, amplifies
the effect of the simulation.
27:44 So anisotropy is quite interesting
as the setting.
27:46 It kind of governs how drastically
your underlying terrain is being affected.
27:52 In a sense, it also gives you more
27:55 callus
or more debris coming off of your terrain.
27:58 Yeah, if I turn this very low,
28:00 you'll see that
a lot more details will kind of stay.
28:04 I mean, maybe it's hard to see
with this lower resolution, but
28:10 you'll definitely see it
when I turn it up.
28:12 So, yeah, you can see that most of
my underlying terrain is pretty safe.
28:17 It's it stays pretty similar.
28:19 Return is all the way to one.
28:21 You can see it almost looks blurry.
28:23 It's basically very much just eroding
the terrain, smoothing it out a lot more.
28:29 I would say in most cases
you want to keep this quite low.
28:33 Otherwise we're going to lose
a lot of detail in our terrain,
28:35 even if we use an area mask.
28:37 But yeah, it's basically
the amount of stress, the terrain
28:40 that is being eroded is experiencing
and at very high levels, very high stress,
28:44 your terrain will lose
basically all its shape
28:47 and just get absolutely
crumbled and destroyed.
28:51 But yeah, very, very cool setting.
28:52 Definitely play around
normally kind of in the point
28:56 for two zero values
and when you do that you
29:01 yeah you can
you can get some interesting results.
29:04 I normally keep it quite low as here
I have it at point one.
29:08 Let's let's continue though so the angle
is going to be quite interesting.
29:12 I turn it all the way down.
29:13 If we turn it up, you can kind of see
29:16 the effect happening
29:20 is basically just the angle
which details this lame set of removal.
29:24 It's very sensitive.
29:25 So even if you have it at point
one of our move quite a lot
29:29 and then
29:32 yeah,
29:33 you can see what happens if I remove more.
29:36 The settings are all very much up to
your own
29:39 needs here when it comes to your terrain,
it might work
29:42 at a different angle
or might need less sediment to be removed.
29:47 So yeah, just play around with that.
29:49 Really have fun with it
so thermal can be quite strong.
29:52 And if we have a feature scale
set to like something like 25,
29:57 I think it might be better.
29:58 If we use this,
29:60 we can lose a lot of detail.
30:02 As you can see here, we're going to
just kind of maintain the large details.
30:05 Now, if we set the feature scale to five,
it's actually going to just allow a lot
30:10 more of that micro detail to kind of be
taken into account for the simulation.
30:15 In some cases, you might not want that.
30:17 Who knows? Maybe you would like,
30:20 you know, only the larger features
of your terrain to be be visible.
30:23 However,
30:25 in my case, I think the feature scale five
is very much necessary,
30:31 so I can keep all the micro detail
I can keep.
30:34 It is noted that if you feature scales
30:37 higher, you should probably lower
the duration a little bit
30:41 because yeah, the effect
just becomes stronger as you can see.
30:44 Like it down, cuts the whole terrain
a lot more.
30:48 So yeah,
30:49 just keep in mind that all these settings
kind of work together.
30:52 You can look at my settings
and try these ones out on your training
30:55 and see how it works for you.
30:58 Next up, we're going to go to Erosion.
31:00 And this is erosion, one,
you don't have to.
31:03 But after my thermal,
I like to add erosion.
31:05 One very low duration,
very low rock softness, low strength,
31:11 very high inhibition, no down cutting,
31:14 high base level one, number one volume.
31:17 I'm just doing this to add break
as much detail in like these snow flows
31:22 in a sense, like as if this large
amount of snow or sediment is coming down.
31:27 And at the same time, I'm
31:27 putting the inhibition
as high as it can be because I want to
31:31 avoid some of the more gimmicky stuff
that can happen with erosion.
31:35 One which you will.
31:37 Sally See one of them here?
31:39 It's where it will create this
very deep groove in certain areas.
31:44 Yeah, inhibition.
31:46 Okay, well, not sadly.
31:48 I'm putting all these quite high
to avoid as much as I can the deep grooves
31:53 that erosion one can create,
which you'll see one here on this area.
31:57 There's still a little bit of a deep proof
that is popping through.
32:01 But yeah, with these settings
that should be minimized
32:03 and you probably only will have kind of
like the very light flow,
32:08 almost texture that you get,
but not the actual deep flow lines.
32:12 That erosion one would normally give you.
32:14 Now we're going to get
a little interesting.
32:16 This might look very intense,
32:19 but let's explain it.
32:20 So first, I'm just getting a selection.
32:22 I'm getting a peak selection.
32:24 So here
you can see I'm just inverting it, though,
32:27 just so you know, that I'm getting
a very basic selection of the peaks.
32:31 I'm getting a slope selection
set in these settings, 25 and 15.
32:35 Again,
just kind of selecting the more flat areas
32:38 and then multiplying these together
and then with a curve
32:42 making this a lot more contrasty
just so we have a really nice mask
32:47 and now and the erosion node.
32:49 Another cool thing is that we can
take this flow from the erosion node
32:53 and make a mask.
32:55 So I just put it into an effect.
32:57 Snow Just so I can visualize it
32:60 again, you
32:60 can visualize of
t you can change the style of a node. So
33:04 this is of course a terrain visualization
and this a mask visualization.
33:09 And then I put it in a warp.
33:11 So we're going to work this
with a very low size
33:15 and a bit of more roughness set 2.6.
33:18 And then I multiply that with the mask.
33:21 We create it, and this will create
this mask for us right here.
33:27 What I do after that is I take an effects
node, I plug in this mask we've created
33:33 and I run de multiply with .995,
and this will kind of create
33:40 this look,
which maybe it's more pronounced
33:42 if I take this five way, but
you really want to be very light with it.
33:46 There you go.
33:47 We're actually going
to get a glacier node as well.
33:50 But I thought this was like a cool
kind of like tricky way
33:53 of getting this glacial crack
to look on your terrain
33:58 After that, just the simple shaping
changes, multiplying it
34:02 by 1.1 during the shape or down a bit
so it's a bit more pointy.
34:07 And I add another two points.
34:09 This time I call it erosion,
34:11 and at that point I start connecting
all the texturing parts.
34:15 You might
34:15 notice that the slope is connected
straight to this right here, this erosion.
34:19 And that's because I don't want the rock
or wall Slope
34:23 to be showing up on these cracks
in this kind of glacial area
34:28 right here.
34:29 I don't want that to accidentally
get like a rock texture.
34:32 It should just all be snow.
34:33 So I took this slope, which
will be our rock mask in a sense, right?
34:38 I took that straight
from the erosion of it back here.
34:41 Anyway, let me just mark this
34:43 and ask about the texturing
because it's quite interesting
34:47 and yeah, so first again, just getting
the height map here, just in effects.
34:52 Now just to be sure
34:52 if I want to make any changes
and then plug that into a height export.
34:57 So it's and these are export nodes
I've just renamed each one
35:01 so we export
its file will be named correctly.
35:04 This is our height map EXR
and there you go.
35:09 Then we start.
35:10 In my case, right now
I'm using a quick saw texture.
35:13 It's just a quick, slow rock texture with
a bunch of lichen, lichen, lichen on it.
35:19 And I had this utter sap map right here,
35:23 which I could combine it with, you know,
just to get kind of a different look.
35:27 But I just opted
just to use the file right now.
35:31 Yeah, each cell is just a color, you know,
we're just adjusting the color a bit,
35:35 turn down the saturation, change hue
a little bit, use the weathering node.
35:39 And as you can see right here,
35:40 I'm using a portal connected
to this choke point right here.
35:43 So portals press P on a node
and you can add portals out.
35:47 Portals will become portals
you can use on the in sections right here.
35:52 So have those.
35:52 H So using your weathering node
and then the weathering, we're
35:56 just basically adding
some like rocky caps to our terrain.
36:00 It will just help
kind of mixing the quicksilver texture
36:04 we're using together
with the actual terrain shape.
36:06 And I find that before
using color erosion, adding
36:09 to weathering kind of, yeah, it helps
and helps along with the rock detail.
36:13 Of course,
most of the rock detail in this case
36:15 will be masked by the snow,
so it's not very noticeable in the end.
36:18 Rain, but still good tip after this
color erosion.
36:22 So the settings here are all basically
point five except for the blend.
36:27 I normally like to keep the blend at one
or very low.
36:31 If I want to keep the underlying layer,
I'll probably have to blend at point one.
36:34 But if I'm you
36:36 if I'm doing a regular color
erosion, normally I turn to blend to one.
36:41 This basically
makes it completely focused on the flow.
36:44 If you don't, I feel like the
36:47 texture becomes a bit
blurry and I love how crunchy details are.
36:52 When you turn it to one,
you get a lot more sharp detail
36:55 because it's not blending
two maps together.
36:57 In this case, color hole point
five Sediment density point
37:00 five transfer distance point
five flow volume.
37:03 I've left that zero.
37:05 If you turn this up,
you'll just getting more diffused.
37:07 Kind of look on the actual flows
have become a lot more big and spread out.
37:13 So this kind of the rocky underlying,
you're not going to see much of this.
37:17 The most important part
will be the actual snow.
37:20 So let's get through the snow the way
I did snow is I get a height selection.
37:25 I use a fall off of point three.
37:28 So it's quite a big fall off
and I warped that.
37:31 So I got the warped on this right here.
37:33 Warped.
37:34 And then I put it 2.5 and a strength 2.3.
37:39 After this I
37:40 adding noise, this is a Perlin noise.
37:44 You go curling.
37:45 It's the bone motors
just set to add nothing different air.
37:49 I combine this with the Dodge function
and this kind of creates
37:53 a custom dusting node in a in a sense,
37:56 the dusting node is working on its own
very well, but it's a quite a heavy node
38:00 and I just wanted my builds
to be a little faster, especially on 16 K
38:04 So this was my way of having a height
based selection
38:08 that then kind of falls off and has kind
of like a dusting pattern to it as well.
38:13 On the fall off.
38:14 And I then put this into a color erosion,
38:17 again using a portal
to connect the height input.
38:20 Very important.
38:23 Now here I really lowered the transfer
distance.
38:25 I don't want this snow to flow
very far down.
38:29 You could turn it up
and kind of have like sort of like
38:32 a, I don't know, glacial look.
38:35 However, the terrain didn't reflect
like a glacier there,
38:38 so I kept a very low sediment density,
one blending set, 2.1
38:44 if you set this really high,
would look like this again.
38:48 I wanted to keep that kind of dusting
look visible,
38:51 so I mostly blend the actual base layer.
38:55 As you can see,
38:57 color hold and flow volume
set to one and very important
39:00 for kind of like fluid flows,
you should turn on laminar flow.
39:04 If it has that kind of more fluid
look rather than a more sedimentary look.
39:09 So after this color erosion, sorry,
I had another no connect it,
39:12 but it was nothing.
39:13 So yeah, we're
just exporting this as a jpeg
39:17 because it's pretty much
just a black and white mask.
39:20 And you might be thinking,
shouldn't you take off the slope?
39:23 And I'm actually going to do that
inside of blender.
39:25 So I'm exporting this slope selection
right here.
39:28 I set the range to zero and 50
and the actual falloff 15.
39:32 This falloff gives me a bit of space
in Blender to, you know, push around,
39:37 maybe more or less
so you could turn it up a lot more.
39:40 But I think 15
is enough to play around with.
39:44 And just for the actual
sake of the final color
39:47 map, I multiplied that on the actual
snow map.
39:50 So you can see here the slopes are being
taken out at this point.
39:54 I combine it with the color
erosion, the color.
39:58 So the rocky, you know,
part of the mountain,
40:01 we finish off
just for the final export jpeg.
40:05 Normally I just export my masks
and my color outputs in a JPEG file.
40:09 You know, it gets really heavy
and normally you don't really need
40:12 the data on that,
on a mask to have like 16 bit.
40:15 But if you do need it then you know, you
can, I think for this slope
40:19 because I'm using a 15 falloff
which is quite high,
40:23 I use a PNG g 16 as my export setting
40:26 because then I have more play room
or wiggle room in blender.
40:29 Now we're going to have
a little bit of an interesting,
40:32 maybe a little tricky way
of getting a normal.
40:35 It's not 100% necessary.
40:36 You could just use the regular normal
and it into world space
40:41 or object space in blender
sort of detail normal right now
40:44 in blender Blender specifically, I'm
not 100% sure about our software.
40:49 They're not as functional right now.
40:52 I don't know why.
40:53 I think Blender
just is a bit weird with it.
40:55 So this is kind of a way I get detailed
normals that will work in Blender
40:59 so normals and then I use RGV split
to get the red, green and blue channels.
41:05 So D Red and green channels.
41:07 I use a high pass
set with 0.99 as the actual frequency
41:14 and then the actual blue channel.
41:16 I set to a constant of one.
41:18 So it is just white.
41:20 When I merge this together,
I get this very interesting normal
41:25 and I export that, you know, PG 16
or you could use a tier four EXR,
41:30 whatever you want to export this
and basically
41:34 it will give you very manageable
tangent space normals.
41:37 They don't have any height
41:38 data connected into them,
but they pretty much work very well
41:41 and are able to add a lot of extra detail,
especially at high res Mountain 16 K
41:46 because your mesh probably
won't be as high detail as a 16 K output,
41:51 especially in Blender.
41:52 I don't think Blender would appreciate
the vertically count.
41:55 I really like using normal
when I'm using it.
41:57 Terrain with a lot of snow because again,
snow is not very detailed, right.
42:01 It's pretty much just white.
42:03 So you really need your shape
to shine through when it comes to snow.
42:07 So yeah,
I love to use normals in this case
42:09 and then I like normal set
I can really push,
42:11 which this kind of setup
gives you a lot of leeway.
42:16 You can really push
42:17 the strength on the normals
and it won't bug out in blender at least.
42:20 So yeah, there's a little trick here and
that's pretty much covering this terrain.
42:26 I will now expect this in 16 K
42:29 and maybe like to show you guys
a little animation of it in action.