Amplify Creations Dev Stream #4 - Lightweight Toon Outline and much more!

Summary

Highlights

• Kickstart the stream with essential introductions and setting adjustments. 🎬
• Explore basic to advanced shader techniques with real-time demos. 🧑‍💻
• Dive deep into shader performance and optimization strategies. 🕵️‍♂️
• Engage with the community through live questions and detailed answers. 🗨️
• Wrap up with insights into future updates and community engagement. 🚀

Key Takeaways

• Learn to create lightweight toon outlines with Amplify Shader Editor. 🎨
• Understand the difference between legacy and lightweight rendering systems. 💡
• Explore shader node management for efficient design. 🔗
• Customize shader effects for unique artistic control. 🎭
• Interact with Amplify Creations developers and get your questions answered in real-time! 💬

Overview

Chapters

• 00:00 - 01:30: Introduction and Greetings The chapter begins with a musical intro, followed by a casual greeting from the hosts. They acknowledge the live audience and make sure that their audio is clear by asking if they can be heard correctly. The hosts mention switching places, which might affect the sound. There is a brief, informal interaction with a person named Patrick to confirm the audio quality.
• 01:30 - 03:00: Audio Issues Discussion The chapter revolves around a discussion concerning audio issues, where participants are trying to identify and troubleshoot the problem. It appears that there's confusion over whether the issue is due to an echo from the room or the audio playing twice. The dialogue suggests that playing audio twice shouldn't be a significant problem in this context.
• 03:00 - 04:30: Stream Setup and Introduction to Toon Shader In this introductory chapter on stream setup and Toon Shader, the presenter encounters a small technical issue with a viewer's setup, Patrick. The discussion is informal and playful as they work through the issues. This establishes the chapter's focus on troubleshooting and ensuring the viewers are ready to learn about using Toon Shader. No in-depth exploration of the Toon Shader occurs at this point, with the emphasis on effective setup and connectivity to proceed with future content.
• 04:30 - 09:00: Creating Basic Cel Shading In this chapter titled 'Creating Basic Cel Shading', the speaker discusses the challenges and technical difficulties encountered during streaming sessions. Paulo returns after a two-week hiatus, and the chapter sets the stage for the continuation of their project related to cel shading. The discussion hints at ongoing problem-solving efforts and the anticipation of moving forward with the creative relay.
• 09:00 - 13:30: Adding Texture and Light Interaction In this chapter, the discussion continues from previous work on custom wedding shaders. The focus is on creating a toon shader with nullcline effects, both in the legacy system and the lightweight system, addressing a popular request.
• 13:30 - 18:00: Outline Effects in Legacy System The chapter titled 'Outline Effects in Legacy System' discusses the offline functionality of a legacy lightweight system. The team reflects on previous instances of offline work and invites questions or discussions about the system. They mentioned making efforts to reduce lag in the system from 30 seconds to 4-6 seconds, showcasing improvements made.
• 18:00 - 22:30: Weighting Based on Vertex Colors This chapter, titled 'Weighting Based on Vertex Colors,' seems to involve a demonstration setup, as indicated by the dialogue. A speaker appears to be preparing to walk viewers through a demo while addressing an audience or another participant. The speaker switches views to a camera or a different perspective to better facilitate the presentation. The abstract nature of the transcript suggests that the chapter might focus on practical applications or a practical example requiring visual or technical demonstration. The focus appears to be on the enjoyment and process of learning through an experiential setup.
• 22:30 - 27:00: Constant Width Outline Trick In this chapter, the speaker discusses a technique called the 'Constant Width Outline Trick'. They describe a scene setup where they have intentionally placed a wall around the head to create a shadow. This setup is important for customizing both the shader and the lighting. They mention using a red point light and walls specifically to cast shadows around the head. The chapter appears to be focused on demonstrating this particular setup and technique.
• 27:00 - 31:30: Lightweight Pipeline Overview The chapter provides an overview of how to begin creating a lightweight pipeline, focusing particularly on the initial setup phase. It discusses the use of a built-in renderer to visualize the process, and emphasizes the flexibility of managing and adjusting windows for optimal workflow. The speaker seems to be guiding on procedural steps while interacting with the system.
• 31:30 - 40:30: Outline Effects in Lightweight System In this chapter, the speaker addresses a question from Cameron regarding specific multi-best templates. While there wasn't a plan to discuss these templates in detail, the speaker offers to answer specific questions and mentions that Paulo can provide further elaboration if needed. The speaker recalls a previous request from a livestream where someone asked about coding a new path in a template. They are prepared to demonstrate this, particularly in the context of their work on an outline, which they plan to discuss further.
• 40:30 - 51:30: Rim Light Effect In the chapter titled 'Rim Light Effect,' the speaker discusses creating a shadow effect, guiding the audience through the steps and encouraging them to follow along or revisit the stream later. The focus is on adding paths and layering techniques on top of existing ones to achieve the desired visual effects.
• 51:30 - 59:30: Setting Up Extra Pass for Outline In this chapter, the focus is on achieving a specific visual style in graphics, commonly recognized as cel-shading. This includes utilizing a unique rim lighting and an outline effect that is distinct because it remains consistently the same size, regardless of zoom level. However, the outline begins to diminish in size when viewed from several meters away. The chapter likely explains how to set up this effect successfully.
• 59:30 - 69:00: Finalizing Lightweight Shader The chapter focuses on finalizing a lightweight shader, particularly aiming to achieve a specific line width effect. The initial step involves changing the main surface type's shadow type to a custom lighting model, using custom wedding ports to achieve the intended results.
• 69:00 - 90:00: Q&A and Discussion on Shader Techniques The chapter discusses shader techniques, primarily focusing on rendering. The key component mentioned is the dot product between normals and the light direction, emphasizing their both being in world space. The speaker reflects on past discussions and reiterates the necessity of correct alignment in rendering tasks.
• 90:00 - 103:00: Template Creation Overview The chapter discusses the process needed to achieve cell shading style in visual projects. It stresses the importance of having a transformation rate of the surface angle, which allows for creating the desired shading style. Initially, there is a need to convert the black and white results into a format more compatible with cell settings. The chapter begins the explanation with the necessity to remap existing visual data to achieve these results.

Amplify Creations Dev Stream #4 - Lightweight Toon Outline and much more! Transcription

• 00:00 - 00:30 [Music] there we go hello everyone and yeah we're very life yeah right on the mark yes hi guys hey Patrick can you hear us can you hear us alright because we changed places so echo what do you mean
• 00:30 - 01:00 like no no that's fine you mean like echo from the room or is the the audio kind of playing twice audio twice no yeah this one shouldn't really affect it
• 01:00 - 01:30 are you sure it's playing twice good because I have someone here saying that it's not playing twice what about you guys is it a fine oh it's you Patrick come on man fix your computer okay so if you guys have any questions no go ahead
• 01:30 - 02:00 no that's good that's good to know because you know there's a lot here you don't see so every time we were about to stream everything fails so we've been addressing stuff yeah pretty typical so yeah guys it's good to be back Paulo is back yay so we can finally do the second part continuing our relay but I had to take two weeks off so with reasons yeah so
• 02:00 - 02:30 yeah and where are you gonna show us today so I'm continuing the last work that we discussed about the custom wedding but this time I'm going to basically create the toon shader with the nullcline effects both in the legacy system and lightweight system which is something that people have been asking
• 02:30 - 03:00 us to do there are a bunch of times and many others had offline working for the lightweight system until today yeah cool is there anything you guys want to discuss before we begin at any time you can always ask unrelated questions yeah it's totally fine by us and I hope the lag is also a bit better today we changed a couple of things like last time I think we had like 30 seconds of lag now it's around 4 5 6 maybe she's
• 03:00 - 03:30 fine yeah she'll be fine so if you want to walk us through a little bit of the demo setup you have here yeah let me just change here first oh yeah let's go into your your camera your view okay so we just suggest might share a little bit so today I'm going to show you the to enjoy the ride but before let
• 03:30 - 04:00 me just say tell me that in this scene I have here I purposely put a wall around the head just to create this shadow because this is going to be a big issue for our customizing both the Shadrin and the light so I have a point fight here like a red point fight and I have these walls around just to create these cast shadows here on the head and let's start
• 04:00 - 04:30 by creating it when you say there it can be the surface one so so we're going to start with the built in the rendering yes yeah let's say that all right I'm using the built in renderer for now I'll not narrate yeah let me just drag around some windows I can really you can see enter
• 04:30 - 05:00 yeah I was just saying Cameron hey we didn't plan to go over specific multi best templates I think that's what you're asking probably I'm not sure but if there's any specific question you have about them Paulo would be happy to elaborate I do remember that on the last stream someone asked me to show you how you create like how you code a new path in a template I can show you how I did on this one because for the outline twerk and I'll discuss this later I had
• 05:00 - 05:30 to add a new path so I can show you the code in the stream if you want you awesome so stick around and we'll get to that but you can always check us later if you can follow this dream yeah so I'm creating for this shadow now and I'm going to just write another on top of our head here just to make sure that you guys at least know what you are trying to get to I do have one that it's already set up just show you so I can race this is the
• 05:30 - 06:00 the final result that you guys trying to get you it has the typical cel-shaded style this has a rim light and it has an outline that it's a bit special this outline because as you even if you zoom out and zoom in the outline with stays the same and only after a few meters away that it's getting actually smaller so swimmin
• 06:00 - 06:30 trains the line width yes that's that's cool so this is what we're trying to get to and now let's start on the empty one okay so the first thing that we need to do is to change the main surface type shadow type to sorry the main light model to the custom lighting and we'll be using mainly the custom wedding ports to do the old
• 06:30 - 07:00 rendering and as you might at least remember I was try to remember from the last string the the main component was the dot product between the normals and like tear or the light direction so in this case I'm going to repeat that process and it should be the world normal and in the right direction both in world space trader dot product note
• 07:00 - 07:30 and you should have these results so why you are doing this well basically we need to have something like a change of rate of the the angle of the surface in order to create the cell shading style so we need to map this black and white result that we have here into something that we can work with the cell settings time and while to do this we first need to remap
• 07:30 - 08:00 these values because otherwise half half about half half of the the whole head is totally totally black then we need to get the range from going to right to full black on the other side but not like all this one so we need to scale this down by using the scale and offset notes and just do you can even preview it here so like this and now it goes
• 08:00 - 08:30 from black to white it looks a little bit too wide II because I have the point right here let me just toggle it off for now so yeah now we try this by using it could be a texture but in order to make this a little bit more interesting we're going to use the gradient node so it
• 08:30 - 09:00 will be adding the gradient sample nodes and the gradient node so what this does is that is it we can actually generate a gradient for my I have a preset here and we can drive the the gradient with the result from the dot product and he output this you can see like we have like a rainbow effect far out Marin so
• 09:00 - 09:30 instead of this we simply use something like a some cell sizes for some walk of blocks of colors in this case I have this one prepared we'll be using this one but we can change this later and as you can see it has like a well-defined edge between this cell and this cell I did have a little bit of gradient on both sides so
• 09:30 - 10:00 see a question Patrick you have a big question you want to make a mask based on the normal facing point in world space and make a mess based on the normal facing can you maybe so you want to highlight a mess based on the normal facing point with what you're trying to do I'm not actually understanding the question sorry how many projection
• 10:00 - 10:30 making it I'm totally lost here just try to rephrase it I'll continue the this part I'll try to get your question level previous yeah we were using a gradient to generate associated effect and this will create the typical effect for the cel-shaded I'm going to add a little bit
• 10:30 - 11:00 more detail by for example using a texture to think this because right now there's only reacting to the light so if I change the light around you'll see that it's reacting to the light but it doesn't have any texture on it so I'm going to add the texture I'll be using the one i'm always using for this hat so and i'm going to multiply the results on top of it
• 11:00 - 11:30 and I forgot to change into the material mouths and that's why okay so it has the texture and has the cel-shaded style on top of it now this is the most basic kind of cel-shaded style there's many other kinds for example you could use
• 11:30 - 12:00 like a the vertex colors to create the cell say the colors or the cells I mean this is the most basic one and we'll add it will be adding rim white and the outline on this this is almost the same as the sample we we already provide but we are going to do some special stuff here so now that's that we have this
• 12:00 - 12:30 part one thing that we clearly see that it's missing it's as actually not receiving any shadows so it does react to the white but it doesn't actually react to the shadows being cast on top of it and we need to use the white attenuation notes for that so if I show you the result of the light attenuation it contains the shadows that you want to work with to make this work however if I
• 12:30 - 13:00 now just I don't know maybe multiply the results it gets a little bit weird so it's kind of like realistic shadows on top of the cell shaded style so it looks awful so instead of this we actually want to multiply the results of the pretty secret created a dot product so in this case I have this and I want to
• 13:00 - 13:30 change these results to something like this this way when we drive the the gradient sample with this results the darkest parts will get the darkest parts of the the gradients which get brown will see us yes so now it reacts to the shadows being
• 13:30 - 14:00 cast on top of this okay so not right not now that we have this another issue that can arise exactly if you want to using a point white if you remember from the last stream I talked about the the issue that the point lies in the legacy system worked with the ad pass which is another person is being ads on top of it
• 14:00 - 14:30 in fee do nothing about it we kind of start getting real results with it so if I now activate my point white let me see if I can and if you can see it like a square being shown here maybe the stream can tell that there's like a line dividing yeah I think they can see especially on the ear ear yeah it's like a vertical line yeah and if
• 14:30 - 15:00 you remember the solution to this was to actually use the white collar which contains the the fall-off for the point light so we actually need to add the light color as well and we need to multiply the light collar by the light attenuation however now that we do this what we have is that we actually have like a flow to your vector three components being multiplied by a fault one and it's being cast in the
• 15:00 - 15:30 the time apart for the gradient sample as a float one so this vector two is being converted back to a fourth point which doesn't actually make sense so what we need to do is that we actually want to kind of calculate like loosely calculate the desaturation value of this calculation because if I show you the results from this on the customized parts we can see that we have like the
• 15:30 - 16:00 the smooth rating going on so it's correct but we need to actually get a black and white sample from this and we can do this simply by using two max knowledge just to get like this is not actually accurate but is it accurate our profit approximation of the thing that we want so let's use the break to component and chill max nodes and we are going to measure which value is higher
• 16:00 - 16:30 and by doing this we actually get a black and white results from that calculation and this is going to be the thing that we're going to multiply over the dot result of products and I forgot to connector
• 16:30 - 17:00 so yeah now it's reacting however we lost another feature which is we lost the color of the point lights so it's reacting correctly but it's not actually think the tinting it's like in the red color or something like that and we can simply do this by just multiplying the result from the albedo with the light color so in this case I can just let me just get some room here
• 17:00 - 17:30 multiply this one and now we get some murders but they can we now have a new issue which is because the this light color is multiplied by the light attenuation we now are also multiplying the albedo with the shadow again so it's
• 17:30 - 18:00 getting really dark so we now need to do some special work it's not really hard but at least it's a new way to add them you know door making you understand how these nodes work which is we need to filter out what is being calculated it calculated in the add pass in the forward pass so we only want to result from the head pass which is the one that contains the point light attenuation but not the one with the the Sun attenuation so the the shadows here in these hard
• 18:00 - 18:30 shadows here so we'll use the static switch just real quick herb is asking if we have a node to convert to black and whites I'm not sure yes we do and actually we could use those I can show you the difference between those so let me just connect ears so you can see the results and that's why we we are using the two maximum so this is a result that I was previously previously calculating I can
• 18:30 - 19:00 use actually use the one day as we called race Kelso actually really straightforward and this one actually has three types of grayscale values they are all calculated differently and they all give different results I simply found out that just by trial and error that the the max with autism is the one I was looking for so it's not it's just more like a strict rule then yeah yeah it's like I said this is only a crude approximation you could use the
• 19:00 - 19:30 grayscale note and try different styles I guess I mean I wasn't really happy with any of those so that's why I ended up using the this - Maxwell note here but yes that's a good question and we I actually had tried this before so like I was saying I want to filter out the results from the heart the hard shadows in this multiplication here so I'm going
• 19:30 - 20:00 to use the static switch on the deads mode and I'm going to use like the forward base keyword I don't need that material total here and I'm going to let me just check I'm going to say that when it's forward base we it's the other point lights so I'm going to multiply it here and when it's the forward base I'm
• 20:00 - 20:30 going to say that a value of one so when it's the fourth place it means that it's the the life attenuation from the Sun you know I'm going to multiply it by 1 so it's it stays the same against and which when it's the for ad pass which is the point light attenuation we are going to multiply the results with the the albedo and then we get the the colors from the light column yeah
• 20:30 - 21:00 okay so this is mostly done there's this a few other things first of all I actually like to use the the light that comes from the point-wise so I like to use the indirect he feels like now just make sure it gets a little bit more grounded to the scene so if you have
• 21:00 - 21:30 like a mix between two and shading and real shading real sized shading I guess this not actually help you and really nice way that we can use this is by actually add the results from the the point lights which I can show you the results here we can use these in a way that it actually actually make sense to the to the final results so I'm going to
• 21:30 - 22:00 multiply let me just show the result the albedo Tootie's value here so it kind of looks like like it's in shadow totally in shadow and I'm going to add this value to the I think it's this one maybe I'm I did a mistake no I'm going to your pets
• 22:00 - 22:30 this value here something like this and now it looks a little a little bit better and it has a new feature I guess which is it now reacts correctly when it's like a day or night not this one but if you have like point lights here and it gets darker so I have the generation on its own
• 22:30 - 23:00 guys are very quiet today so yeah this is one of the little details and now we all move on to the outline effects and for the outline in legacy is actually really straightforward because we actually add add like a simple option that you can use like the outline check out the old do box in Europe so if you use this one it's it's recently done I guess we can just change the outline with like a
• 23:00 - 23:30 small value or something like that however it has this has some of at least some issues you can see that the nose is really strange the eyes as well even if I put something a little bit smaller so you want to customize this outline and we'll do this by using the outline node yeah we're going to do this effect in
• 23:30 - 24:00 light-weight after we were done with yeah this isn't going to be our base for creating the the lightweight version so I'm only signing here just so you can make sure that you understand these parts and when I move over to the lightweight I'll talk about the differences in most important part will be the outline part which is the one that is really different from the lightweight version yeah but feel free to share this any questions you might have it's it's no problem
• 24:00 - 24:30 yeah so this node is a way to customize the outline look we just connect this to the local vertex offset and now we can change the way the outline works by choosing some different options for example we could just change the offset of the outline by hand for example and this is what we are going to do now we are going to do our own custom outline
• 24:30 - 25:00 and we'll see in a moment why but for now let's say that I wanted to create our outline I can simply use the vertex normal and I'm going to something like this like I'm going to use the vertex mark normal multiplied by a value call it come on
• 25:00 - 25:30 hey face it sorry if I'm mispronouncing that we have around 10 people it varies it's it's not a root question that's all right we're a rather small team so we're kind of divided so to speak in two different areas we have some people working on specific products or even games we recently shipped a game called decay of
• 25:30 - 26:00 logos for multi platforms but the actual tech team working on this product is between two to three people so it tends to vary a bit yes I hope that answers your question but let me know if you have any others okay so however like I was saying I'm customizing my outline and I multiplied the vertex normal with the float value the property value and connected to the offset the reason being that to do the
• 26:00 - 26:30 outline we only want to extrude all vertices in the offset in the in their normal way so by changing further amplify introduce like a negative value you can see the result getting really weird now it's inverting the outline you can see something bigger here oh sorry great Orion maybe I didn't speak loud enough I said decay of logos it's another game oh yes
• 26:30 - 27:00 very very efficient we work very hard on these products but thankfully since we you know I've been developing them from for a while now we we kind of got used to the to the development cycle okay so this is the same result as not having the alpinum right so now the reason I'm doing this is because now I want to customize this a little bit further you can see that the nose is
• 27:00 - 27:30 really weird because the distance to the the outline because it stays the same alongside the the edges of the the model on the nose this distance is a little bit too high it would be nice if you could customize this distance this width of the outlines so it could stay smaller on the nose for example and in the same case for the same case for the eye so the idea here is that I actually already prepared this model in a way that on the
• 27:30 - 28:00 vertex colors there's some information that we can use to make the with higher smaller depending on what we want to do so we can do this with the vertex color but there is also the information on the the albedo map so if you I show you the the alpha for the albedo map you can see
• 28:00 - 28:30 that let me show you you can see there is some gray areas areas sorry areas some gray here some white on the other stuff and if I use this alpha Channel and multiply this by the resultant we already had for the outline we can see that the outline will get smaller only on the areas that are gray so as you can
• 28:30 - 29:00 see now it's smaller on the nose and bigger on everything else same for the eyes smaller on the eye is bigger for everything else so this is one of the reasons the other reason is I showed you earlier that we could zoom out and have like the cost constant twist for the outline it's not the case here so if i zoom out the width of the outline gets smaller and
• 29:00 - 29:30 eventually you don't even notice it notice that it has an outline so what we wanted you is kind of do a simple trick which is we can get the the best information or the the best but the distance to the camera on the vertices and we can use that distance to make it constant on the the the amount of waste that we are going to use to the the art
• 29:30 - 30:00 one effect so we are going to multiply or add another value to this multiplication here that comes from the clip position sorry so object equipos and we are going to have the vertex positional and we want
• 30:00 - 30:30 the double value so if we multiply this directly we now get a constant value for the width so if I need even if i zoom in or zoom out however you can see that now we have a different problem which is if we zoom out too much we actually get
• 30:30 - 31:00 really thick lines which is not what we are looking for so we need to just max this value into a certain value that we can customize so it can just multiply one with the breaks not so unique place L asks what if we want to make the highlights I think you're referring to crosshatch effect like often circles that kind of effect usually see in cell shaded stuff it's a bit of a different effect I think he may be asking about
• 31:00 - 31:30 the highlight like using the outline to do a highlight maybe is that is that where you're referring to I'm not familiar with spider-verse give me the movie okay so that's it I guess you could change the color I didn't change yet but I all changed a little bit if we add Viper
• 31:30 - 32:00 like a really strong ball of white yeah Cameron we do know the movie it's pretty awesome if it's the animated one is it spider versus the enemy honest are some really pretty good don't remember that particular effect there was a lot of stuff going on and spider-verse all of it awesome I think about like 20 should be enough is it max sorry it's not the max one
• 32:00 - 32:30 it's the minimum value so we want to develop to be to stay at the minimum value ever get any time now okay something like this this could work for a highlight I guess it doesn't highlight only down the edges we can fake it a
• 32:30 - 33:00 little bit by making sure that we render the out final a little bit further from the object this introduce some other problems but we can talk about this on the lightweight pipeline because there's actually a really cool trick we can customize the outline even further that very I'm going to show on the out the lightweight file type line so this is the final results I can change the color
• 33:00 - 33:30 okay and we get like a simple colored outline on the cell shaded style on the shell shaded surface I actually don't use all right at least I think a more practical way to do outlines it will actually use the albedo color to change the outline so instead of just using a
• 33:30 - 34:00 color I actually prefer to grab the results from the normal path and just stick it into the color and for example multiplied it sounds like a good idea and now we can tint yeah no you can see that it's me it's being
• 34:00 - 34:30 tinted sorry ever I've a light on my eyes so something like this herb asks how expensive would you judge this shader to be compared to a default elite shader I would say this is faster how I didn't I don't think it's much difference there's still at least one
• 34:30 - 35:00 missing part here that would change my response which is it's not it doesn't have any specular component so in terms of performance this is probably still the rich faster because it doesn't have any calculations for the specular component however we do want sometimes to create a specular component but not in the traditional way for some shading what we actually want to do is create a rim light effect and I actually have it
• 35:00 - 35:30 prepared for this dream in terms of performance they'll probably go hand in hand yeah I guess so well at least when we have the rim oh yeah we got a couple of other comments let's see yeah hello silver so the mine might have been talking about the typical dots usually associated with comics it's a bit of a different effect to make I'm not sure if you're prepared to kind of I think I can show it the idea here is that we can
• 35:30 - 36:00 paint both the sulfonyl style and the outline with a pattern so we can use the screen position so this is specifically for the outline silver saw but there are of course other effects where you can actually combine other things like crosshatch and things like that yes it's a bit more gold and then what we're showing but Paulo here will demonstrate so I can use the screen position I see we're across over and just kinetic to a different texture I
• 36:00 - 36:30 don't the youngest thing here is that I actually don't have any good texture to show the pattern so I will use these checkers I guess I can I could even just paint for example let's say something like this multiply the couldn't apply it here I'm not sure if it's going to look really good or not to pay up like defense metal fence arrangements it's so
• 36:30 - 37:00 worse yeah it's doing something that not really yeah not this one sorry so something like this okay this is doing something to the dissociated style not only for the shadows we can filter this by doing a
• 37:00 - 37:30 lot between one and one and use for example this the other way you want around so like this not not going really okay because
• 37:30 - 38:00 society was to create you just try this one just last right okay okay ish I guess so basically the the shadow parts have the screen effect that has the pattern and the light parts don't actually have it and we can do this for both the the cell shaded part and the
• 38:00 - 38:30 outline so you could have like a scratch effect to make it like a crosshatch effect you know so yeah I guess this could work not with this texture because this is a really bad picture I'm using this one so not a good one but if I have a different one maybe more about this idea what you want to do all right you want to take a speck maybe kind of recap
• 38:30 - 39:00 yeah so the thing we are missing is the wave effect rim but maybe we could maybe move out to the lightweights and then we can do the rim effect earlier let's go for it so now that we have this year I want you to notice one important part which is do look at the point Heights and notice that it's adding the red color on top of the object okay and I want you to
• 39:00 - 39:30 memorize this image in your head because in the lightweight pipeline we can actually control it a little bit further and it will look differently on the lightweight pipeline so you just save this in and I'm now now going to change it into the light waves okay so this is the this is going to be the final result for the
• 39:30 - 40:00 lightweight pipeline and notice right away that the the red component referred here it's not actually being just added you can tell that it's actually consuming parts of the cells fittings the stuff you know so the this would be the result for the shadows would be being cast here so the the point light is actually consuming not only its adding the red colors and resultant also
• 40:00 - 40:30 consuming the cell shade of the parts you know cool so a nice effect Petric is asking if we can use noise on the outline connect so I think you're referring to the actual noise note probably a noise like making some parts more with a higher width in other parts with the smaller one is that the kind of noise you're referring to perhaps an
• 40:30 - 41:00 animated sort of animated out point the only problem with this kind of noise is that because it's being used is being created by the the shape or the the mesh of the object and if you have like a really small object like a low poly object you may not have like enough the geometry to make the vertices go up and down in a really good manner but yeah we could we could just for example at the time nodes or even one of these I guess
• 41:00 - 41:30 and multiply it not on this one but only the legacy what I'm doing under the Roberts I'll also show you do remind me of that I'll see you in the lightweight pipeline so you can move out to my lightweight lightweight pipeline so this is going to be the final result that I have the rim right here on the other one I didn't so let's
• 41:30 - 42:00 start from scratch I'm just going to duplicate this and create a new shader actually I'm going to duplicate this shader yeah I'm going to duplicate this shader and so we can preserve all the nodes all the tree that we already have and we'll start from there okay so this man's almost sir yeah
• 42:00 - 42:30 sorry and it's still pink because the is still the same as the yellow one for the legacy system let me just delete this part here okay so now this is the old shader I'm now going to switch to the lightweight pipeline and going to
• 42:30 - 43:00 the unlit version and let's just ignore the outline note for now and let's just connect the output from the cell shaded parts and see what we get okay so it's mostly working there's some caveats here which is as you can see there's no point light the red point right it's here but it's not actually affecting the model
• 43:00 - 43:30 and the reason being that as you can remember from the last stream there's some things that we need to do to make the point light work in customizing one of those was to actually recreate these parts here with a custom expression or with a special node that we added on the few weeks ago which is the additional light node so Patrick it's an
• 43:30 - 44:00 interesting idea do you mean kind of generate shaders for other SRP is automatically and all that populate PBR so something like an automatic switching and popular not sure what what you mean by that but I see well we I guess we could automate that process but I think in this case we prefer to give the user
• 44:00 - 44:30 that control like what what specific type they want to use per shader I think if you change it from a standard surface shader from a PBR one if the connections have the same name they are the same shader yeah they change automatically yeah what's okay so what's this Chevy function I can show you it's a little bit complex but it has a few custom expressions here what they
• 44:30 - 45:00 do is that they actually return the values for the light attenuation for point lights the way the light weight pipeline works is that we need to treat the point lights in the loop inside the shader before in the legacy system we could just just simply use the add pass and the FS will would simply add the results from the point lights on top of our rendered model in the case of the light weight system we need to actually loop around all the point lights in our
• 45:00 - 45:30 our scene and add the result from their contribution to the the rendering of the actual model and not a different path so what is no does it's actually if I show you the even the code all of them have like a for loop that goes around and all point lights and they do something different so what this node does is actually you can choose what kind of types of lights you want to do so a
• 45:30 - 46:00 flight lighting or Lambert lighting or a specular lighting for the point lights and all the other noted before would give us either the color or the attenuation for both lights meaning the the sunlight and the point lights they they now only give us the results for the sunlight so the directional lights a place light I'll show you I can actually show you the result yeah and if you want to see this in action our last stream actually covered this so if you didn't have a
• 46:00 - 46:30 chance to see that I recommend you go check it out it's well you can probably find it in our sites in our YouTube channel there's a playlist there so this is the flat light so it's only giving out the the the fall-off of the the point light if I show you the Lambert one you'll see what I mean now it's actually trying to calculate the contribution to the surface and this is the specular one
• 46:30 - 47:00 okay so now we are going to use the the flat sorry I'm going to add on top of the result that we already have which is this one I'm going to end the result for the additional lights as well and I'm going to this this in a similar way that
• 47:00 - 47:30 we did for the the regular light so I'm going to create I'm going to duplicate these notes here which I'll denote that we could substitute by the grayscale note and I'm going to grayscale basically the grayscale of the additional lights I don't know if you can do that Patrick using that note to create a subsurface scattering effect I mean you could try to fake it yeah it's
• 47:30 - 48:00 actually similar I think the sss effect is basically in the lambert light with the normals inverted so basically yes you could nothing this way he's not with this node but you can hack the code to to make it work for sss yes it's not actually sss is actually called translucency but it's similar okay so let me just consult with my the one that
• 48:00 - 48:30 I already have prepared so now we are going to add this results wait sorry I just kicked the mic you're welcome we are going to add this results to the results from the lights from the Sun so this is the light from the Sun it has the shadow and has the attenuation correctly and now we are going to add
• 48:30 - 49:00 the results from the point lights and we do this before point to the the gradient sample to make sure that our gradient sample now picks up the for both the Sun and the point lights so this is the the main reason why now the point lights don't actually add it on top like a red color on top of the other result and they actually contribute to the the sampling of the radiance that we
• 49:00 - 49:30 used to create the the cel-shaded sound finally we still need to color it like we did for the the light attenuation and now we actually don't need this anymore before we had to do this because we had actually had to deal with between the ad pass and the fourth base pass we can actually avoid just delete this by the way I use the Alt + right do you remove
• 49:30 - 50:00 no you should know this by now but if you don't there's like a button there you can press and you see all the shortcuts in the editor more specifically so if you fine um I'm not actually let me show you my hand my best hand is not actually doing nothing right now if I now press alt while dragging in leave it on top of another one it will auto connect between those two to switch metric and if I hold alt and drag it
• 50:00 - 50:30 also remove it I need to get away we also have a small little window for information about our shortcuts you know the way yes so it's a lot of magic ated in there if you're not familiar with our shortcuts there's a lot of stuff there that will save you time yes we can check this out and the colors and you know okay I got sidetracked what I was going okay so I
• 50:30 - 51:00 need to add the components so it's yeah thinking the like right so now I also need to multiply the results for the lights the additional lights here and by the albedo just like we did for the the
• 51:00 - 51:30 regular lights or the directional lights and we need to add this result either add or multiply its and we need to add this well this actually you can do this differently I'm doing this this way but you could do it in a different way I'm just going to add this directly on on this final path here just real quick Andrew asks how to swap a wire
• 51:30 - 52:00 connection without leaving one disconnected well you can drag wires but you can also alt drag with there's two I think the second one remains connected right remember X Y open X without leaving one disconnected so let's say that we have something like this and you want to switch this to maybe how to swap the wire connections which is it between when we have more than one not sure can
• 52:00 - 52:30 you elaborate and here we'll try to answer it because we if you instead of holding each pipe drag this connection in hold ctrl and leave it on top of the other one they actually switch is that it I didn't know we could do that it's also voicing the same note so something like this that's I'm holding up control here to do this okay
• 52:30 - 53:00 so I added the results from the additional lights multiplied by the albedo to the final result and yeah that's it sorry I'm a little bit lost yeah but we'll keep setting codes to the editor and there's more coming by the way okay so for some reason this is
• 53:00 - 53:30 not looking I did some mistake here somewhere I think it's this one so this is x hmm for some reason it's not looking like the other one let me just check the results for the sample here this looks
• 53:30 - 54:00 correct this also looks correct maybe yes this one looks correct as well so probably this one
• 54:00 - 54:30 here with us folks we got a little sidetrack it with all the questions doing something wrong here let me just find out what it is for some reason it's really bright I guess we'll go with this some reason for some reason this is not
• 54:30 - 55:00 going doing the cel-shaded thing here with the point light not sure why and I'll think about it while doing the rest so now we need to do the outline yeah feel free to ask any questions okay okay so problem okay so before we actually had that option for the outline and we could also use the outline note this
• 55:00 - 55:30 outline no longer works for the the legacy system I'm sorry for the lightweight system because this actually was like a heck a heck to the surface system to the road surface shader so this no longer does the the heck to the lightweight system and in order to do the outline we actually need to create like an extra pass that actually renders just the outline and there's actually various ways to do this and we recently
• 55:30 - 56:00 added and by recently I mean today we other than you president this is live now yes it's I don't think it's on the asset store here on our site but it's on our site and it has a new option that you can find here which is the extra free pass and when you click on it will actually add a new master node with that only renders the the extra pass and this will replace the outline so I no longer need
• 56:00 - 56:30 I know and I can use these to make the outline but there is there are some caveats by using this system what we need to understand is that this path is being rendered before the other ones so in this case is being rendered before the the final result for the the head but we need to change it a little bit in order to make it work like we want you before on the outline note it was already set up for us and one of those
• 56:30 - 57:00 things is we need to actually tint it and make it in invert this the surface in order to make it like the outline because if you if you don't didn't notice yet the outline is basically re-rendering the mesh again with the back faces switches so basically if you want to render the outline here we need to change the back faces from back to front so this is basically the only
• 57:00 - 57:30 thing we need to do and by doing this we now can just connect the same ones that we had before and and it's not working because because of this distance here okay so yeah it's using the same system sorry
• 57:30 - 58:00 was that weird for you guys I can't explain this again so basically the I'll fine know that we had before it was exclusive for the surface system and now we need to do it in a different way so we need to add a new past that does the outline and we added this on this our template system we you only need to activate the extra PS button here and it
• 58:00 - 58:30 will create a new master node and this master node it runs before the the other one so we need to just call it in the same way we that we had before we can color it you can change the vertex offset and you can also change the Alpha if you want you but the good thing about this system is that we now have a lot more options for the free pass so it
• 58:30 - 59:00 doesn't actually need to use this just for offline we could do other stuff with this pre pass there's some effect so that it doesn't for example if you are not sure if I can say this for sure but there's at least a few types that we want to do with death that needs it like an extra free pass that only renders to that buffer we could we could try to do that but yeah this is a simple way of creating the outline ok so this is the
• 59:00 - 59:30 outline in working for the lightweight system there's a at least two missing parts which is the the dream wedding this is more performance yes this is only working for the lightweight and the universal universal system so no HD for now and the reason is being that the it's the system is a little bit different so some notes can't work or at
• 59:30 - 60:00 least they can't yet work for the DHD system I actually mentioned that in the previous swim so if you want to know more about the HDD version go check it out and you'll know why it's not working the same way for the agency but at least for the lightweight in the universal is working cool I like I said before you can find the other streams on our YouTube channel we have we actually have a lot of playlists there if you have not checked them yet you can find the
• 60:00 - 60:30 streams you can find tutorials beginner series or just go to our wiki at wiki daughter amplified PT and you can find a lot of stuff there very easily I didn't quite get your comment Alex you know what's coming stencils you want stencils is that it Cameron asks if the this best could the pass template work for HD it could I didn't edit yet but I can edit
• 60:30 - 61:00 for the HD version as well so just to finish this there's only thing two things I want to mention I want to create the rim light and I want to mention at least I want you to pay attention to something that you might not be not my target yet noticed which is if I increase the the distance or the width of the outline I want you to notice something checky-check we did the
• 61:00 - 61:30 shadow here if you can tell it's actually this is the shadow for the floor and the shadow on the floor is actually being rendered on top of the outline and this is actually true for basically every shadow so you can see the shadow here on the floor it's also being added on on top of the outline this is actually a mistake that we can fix it with just this and I want you to show you a way to make the outline work for any case even the with the correct
• 61:30 - 62:00 shadows but also you are at the end of the strings it's a little bit more it's like it's not more complex but it's it's a trick on the rendering system and I want you to show it that later but for now just pay attention that you can actually have like this working totally correct but for the most part it should be what you find mostly people just want to change it in the flat color anyway okay so let's move on to the rim white will do
• 62:00 - 62:30 the rim light in a very simple way we'll use the the idea of like a Fresnel effects and we'll just cut the parts of the personal effect that I can not consider sorry we'll get the parts there on the shadow parts so we don't see the we might affect on the actually the parts that are actually lit by the ship by the Sun or the light so we do this by
• 62:30 - 63:00 in the beauty node and the normal and we do a dot product and if I show you the result of this dot product this is actually kind of the same as the dot product between the the world normal and the light direction so you see that the
• 63:00 - 63:30 faces parallel to the camera are always white and the other ones get darker and darker until they go black let me just for now remove the the outline and now we want to control this in order to create the rim white effect so we want to eventually invert the result and we
• 63:30 - 64:00 want to change these values around in a way that we only get like a rim of this of these effects and I'm going to do this by adding a value let i'm going to call it rain offset you can customize it
• 64:00 - 64:30 something like this and if you remember I actually use the the scale and offset on the dot product between the wall normal iteration so that the values that are negative you get like scaled down to zero in this case I'm just going to saturate the values accentuate means that they are get they are getting clamped between 0 and 1 so this is basically the same as using the clamp nodes just like a shorthand of using
• 64:30 - 65:00 this one and I'm going to just let me just save the result for now and I'm going to use the smooth step value just to make it so they don't get this hard like a hospital officer so it gets a little bit smoother and I'm going to paint this with the color so
• 65:00 - 65:30 I'm going to multiply it by a color which is the ring over something like this okay and finally I'm going to cut out the parts that are dark from the shadows so which means I'm going to just
• 65:30 - 66:00 reuse the values from the light generation so what is it so this one I'm going to multiply it something like this yeah something like this very good so now we need to add this to the final result so the final result was this one means you got it getting it hang of it
• 66:00 - 66:30 and just add this okay so he has a small dream effects which is just that's much more interesting than just using the Pernell effect on top of it yeah and we
• 66:30 - 67:00 can adjust a smooth step you can even expose it to the material properties for example not sure you please values will be looking good sorry yeah but you didn't go really strange
• 67:00 - 67:30 little getting something like this and then adjust the upsets so it's more tuned you're looking I guess so yeah this is the rig right I guess the only thing missing here is the explanation of the outline with the shadow thing that I showed you earlier which is basically the reason this works is because we are only running one pass before the other
• 67:30 - 68:00 ones however if you want to actually be able to receive in cast shadows for the outline we actually need more passes we need the the pass for the shadow caster the best for the the left buffer and these passes while we can add them if we add them to the same shader what will end up happening is that unity only picks one of those and our shader already has those because our say that already is casting shadows so if you want to if you really few in to shadow
• 68:00 - 68:30 casters for example one for the Alpha and another for the object only one of those will be picked up by the rendering system so if we can't actually use the these extra shadows or these extra shadow casters or disaster that's passes we need to fake it in a different way and that way is actually it's kind of stupidly it works and it's a way that you can fake it I guess
• 68:30 - 69:00 so I'm going to duplicate my hand I'm going to move the other one to here I guess and I'm going to are you about to do what I think you're about to do no but you'll see I'm going to duplicate this shader and I'm going to call it
• 69:00 - 69:30 offline that's because the it you don't it will only contain the outline group okay so I'm going to create a material for it and I'm going to do something kind of crazy but it works which is I'm going to select my object here and I'm going to increase the material size to 2 this will actually render the same thing
• 69:30 - 70:00 twice because it is using the same material but I'll now use a different material and I'm going to change this material so I'm going to open up in the editor and I'm going to and now remove the extra prepass we no longer need it and I'm going to only render the outline on this so basically it's like a new shader that only has the outline and for
• 70:00 - 70:30 the because of the way the Alpine works it we need to invert the the culling of the faces I'm going to change it to France and I also need to connect this one for the vertex offsets and now let me see if I something like this
• 70:30 - 71:00 and now if I increase you can see that it's right see a pond on the floor even the outs - casting shadows now that's because we are actually rendering the object twice you know one for the outline and another for the the actual
• 71:00 - 71:30 rendering of the object this is a little bit more expensive we could for example try to not guess it make it not cast shadows and maybe save a little bit on the floor but the reason we might want to do this I up to you if you want to do this or not is because now the shadows that are being cast on top of the outline by increases they now change accordingly so this is the result for
• 71:30 - 72:00 before we could see the shadows here from the ground here and now we they they look fine yeah I mean it's more expensive but it yeah if it's something that you really need to do go for it sure so we basically fooled the system by using generally different changeable trick yeah yeah this is the old figure
• 72:00 - 72:30 the old way of doing it so yeah I had like some time so to give a little password yeah the multi pass with personal fluids yeah guys so we're kind of finishing up we're gonna go through your question see if we missed anything but if there's anything else you want want to ask us before we go now is the
• 72:30 - 73:00 perfect time ladies I had someone yeah there was a question about our templates sorry guys just one seconds looking for a question here isn't it before can't find it so I can't remember what the question was either showing you the code
• 73:00 - 73:30 was it yeah something about showing codes showing your template code okay so alex has a question I have to hopefuls could you go over best of all of the template creation okay yeah gotta give her thanks okay we're looking for your message but couldn't find it okay so the way I created disaster path is actually really simple only because it's something that I reuse from some other parts so let me
• 73:30 - 74:00 just open up visual studio here so you'll see a little bit of code hopefully you don't go away oh no it just was the chat just drag and drop okay so before today's update we
• 74:00 - 74:30 actually had three different passes in the unlit version of white-white pipeline so it was the the lightweight forward the shadow caster and that's only passes and what I did was I actually just duplicated one of these in put it on top and the way the system works is we actually have these small tags here we can either add or change accordingly
• 74:30 - 75:00 what we want to do and this will be read by the our system which will parse the the code and we'll try to figure out if we have the Colleen if you have the plant loads and so on so we only need to end the this past year for the the creation of the pass and we have other ones for where the global variables and the definitions going to so we have the
• 75:00 - 75:30 this one for the pass these two are actually essential and the functions as well so if you want to add like a function from the custom expressions for example they go here and then these parts are worth configuring what the shader already contains inside of the these structures which will be used by the shader for the input of the mesh and the interpolators so in this case our
• 75:30 - 76:00 mesh has the position for the vertices and the normals so we only do like this small description is that the position is being used in the normal is being used and the same is for the interpreter so in this case we have a position we have a value that we say that it's the world position if that is saved on the texture 4.0 and then we have other values for the textile for that one and two and we do something similar that we
• 76:00 - 76:30 say that the world position is saved on the text report at zero and the shadow cast on the texture for that one and so on so we do this and we then create the text for where the output ports go and this will be defined in the final shader as ports so by creating this one for example it will create the the vertex offset ports and see whether Patrick and we do this for other ports that we might
• 76:30 - 77:00 have and eventually they show up in the editor we can customize it and this is the taro was detailed in our wiki page have you had a chance to check that yeah this is this a surface level view of the whole system all these key words that we are using for the text we can you can check it out on our wiki you have a full explanation and if there's anything on the actual wiki that you find it doesn't really explain what you're looking for you can reach out to us and we'll try to
• 77:00 - 77:30 you know adjust it or update it so I just added this pass and created a new option that works that actually hides or shows the path and that's it actually actually it's actually really simple you you make it sound simple yeah yeah I may not be the last person to know that's all right there was a great explanation I think we got some other questions here so Alex writes so Alex I have two plus three to foot once all of them use a
• 77:30 - 78:00 little by the same texture alpha value would be better to combine them into first and then blur so you don't you don't learn matrix values maybe I'm understanding the question nothing inside of the question but you can't learn for example you can't do this
• 78:00 - 78:30 this is not something that you can actually do I not sure if the default is will actually produce any compilation errors like I could try but it's you don't need to do this if you want to combine combine it into fault force and for example if you if you have like a
• 78:30 - 79:00 full three value and a fourth one and you want to do various slurps for example if you want to do the same work you could actually combine this using the append node so I click B for the event you can combine this and then do the work for example like this and this would save the Anning at least
• 79:00 - 79:30 one lerp instruction because he said of doing the LARP between the three to the two for three values and the two fourth one values you now have the between just two four four values and you say one instruction which is the load however this actually has another side effect which is we actually need to do water as this one extra instruction extra just to upend the values so you might not end up
• 79:30 - 80:00 saving instructions by doing this yeah I actually do this when I have a major follow up so instructions I want to do like for example that measure that I want to do one one - and real saturate if I have a bunch of those then doing these rules is actually cheaper than doing something like this which is more expensive so in this case I would have
• 80:00 - 80:30 like six instructions right which is the six notes and on the other one I would have just three and probably two more so in this case I would be saving at least one or two instructions by doing this it's a good idea which one it Andrew asks and what my sprite lens flare to disappear when something is in front of
• 80:30 - 81:00 its center like in the inside so the spy plans disappear when something is in front of its center if I'm not mistaken the lens spray if what effect is done by the post-processing effects so I'm not sure if you can mask out the lens flare what I'm trying to do to say is that it's dependent on whether or not you can
• 81:00 - 81:30 customize the lens flare effects so if it has like a mask you could probably create a shader that try yeah we saw the question Andrew Norris we're gonna go through all of them we also asked the outer sample depth at a center of an object and then fade it if something is in front how to sample deaths the center of the object not sure if I understand the question how to sample death true so you sample death by
• 81:30 - 82:00 using the the left side note or the death no so screen that for example let me just create a new new one just to make it simple okay so it's
• 82:00 - 82:30 oh yeah you can post a video and you just make sure it doesn't have any music or stuff like that get our video flagged sorry okay so there's a small mistake here about so you sample that by using the screen that note however you only
• 82:30 - 83:00 get the results from the the best buffer if in case of the lightweight system if the the object isn't transparent one because the depth buffer is only available after all the the opaque objects are being rendered our are rendered so even if I do this and I create a new material for it you
• 83:00 - 83:30 actually don't see anything is all white because my object needs to be a transparent one and you can do this by for example changing McQuarrie this by changing the render queue to transparent maybe even the type of for now let's say let me just remove the glow because it's messing up my
• 83:30 - 84:00 okay Oh in but there's one thing I I forgot which is we need to enable it in the lightweight rendering pipeline asset which soul you need to activate the rendered the lab texture here so with this just real quick Thomas the actual name doesn't really matter because I believe it's associated with the actual trader file so you can have shaders with equal with the same
• 84:00 - 84:30 name so that's big but what night regarding the shader later I think he missed two shaders with the same name the common property I think he's referring to our name that we said in the in the editor if I'm not mistaken oh yeah it's okay as long as it's a separate file it doesn't matter it doesn't use the names for it yeah I think it's probably just gonna show up duplicate it okay so this is the
• 84:30 - 85:00 last buffer so you can see that it's actually running the desktop from what its behind it and the question was how two samples left at the center of the objects and then fade it into something if something is in the front it's kind of difficult to understand what he wants to do
• 85:00 - 85:30 so basically you just want to occlude objects is that it you want to where's the video we see your comment but we don't see a video is it under this cart Channel maybe trying to make my cursor
• 85:30 - 86:00 only render an outline went behind the other objects know how to start okay three example video okay so if you want to render the outline just when it's behind the other objects you'll probably need to use the stencil buffer not I'll not say that it's the best way it's just one of those that you can use which is you need to render to the stencil buffer
• 86:00 - 86:30 value and then read from that value to make sure that only the things that are in the the stencil buffer I rather like you want to so let's say that you your wall which is the thing that is on front of the outline is running to the left buffer a certain value you then from the outline shader read that value and you only render something if some the there's already something in there in
• 86:30 - 87:00 that stencil buffer value which will make sure that the the only render when it's behind the wall I'm not sure if I explained it well enough you can check out our stencil buffer examples all right I'm just making some window adjustment zeros so it's like you're looking at the car yeah so about the other one I didn't really get a video Andrew did you post it well which
• 87:00 - 87:30 channel did you put it on this card oh it's the inside one you were you were in the right place just one moments which one was the general shader editor here yeah okay okay so do you have a specific time time frame time code for that
• 87:30 - 88:00 so it's what that is being rendered hmm and that's just the shader effect or is he using a script for that because we can't hear the sound of the video so it's gonna be hard to understand what he's doing we don't have any sound on this computer this is probably a little bit more complex for the stream i can try to watch the video and give you a an answer
• 88:00 - 88:30 in this court i guess or join us next time for it yeah we could try to create something for the next room I guess yeah it looked like it looks like a sprite on a sprites yeah we'll check it out Android or is it's just that we can really hear anything here so we'll have to look into it yeah I need to I need time to think about it and give you a proper answer cool also an awesome game yeah so it's the lens of flat sprites on
• 88:30 - 89:00 canvas okay so everything has a stencil value by default no you need to actually make the other objects render to the stencil buffer so you need to make sure that the walls are rendering to the stencil buffer and only then you can actually use another shader that does the outline and reads from that sense of
• 89:00 - 89:30 offer you can check out the the samples I can show you here let me just switch to the lycée system and I think I have sculpt Porto maybe yeah yes that's caused extensive example so you can see that on this example there's
• 89:30 - 90:00 actually a sphere a cylinder and the cube all on top of each other and the only the corresponding color portal is actually running these objects and that is done by making sure that only the so let's say that for example if I check out the shader for the stencil for the green one it's actually using the reference to so it's outputting a value
• 90:00 - 90:30 to the stencil buffer that reads that writes a value of 2 and then on the objects which is the sphere which I can't even see where the sphere is let me check object here okay if I check on this one I'm now comparing if my if the the stencil value is 2 so I'm comparing
• 90:30 - 91:00 if it's 2 and if it is it renders so it's it's keeping the value but it's saying the same thing it's rendering if it's still so one is writing to the sense of value to the sensor buffer value of 2 and the other one is reading and it will only render if the value not sure if it's make sense a bigger tank but that's the way you do it I will address more comments about effect
• 91:00 - 91:30 oh I guess they are trying to answer each other's answer or maybe camera is trying to answer engines cancer okay the problem be sure to drop by our discord if you have not already and we can keep talking about the census I actually have a question about stencils just out of curiosity how did it work well in fear is that something is everywhere enduring
• 91:30 - 92:00 is that something we actually don't know I think I ever seen it there but it would be create something to Cervarix I think so I not sure if there's some limitation I'm not sure I don't see why at least so this will work yeah could be interesting you guys have any other other questions enter if for some reason I don't answer you in the next days or
• 92:00 - 92:30 so do remind me and I will try to answer your question about the despite honest fight stuff sounds geeky so yeah if we don't have any more questions well I think we can let's take it to
• 92:30 - 93:00 this gourd yeah we can wrap it up and go home hope you guys are we're ready for the weekend as we are pretty sure to subscribe to our channel and and sorry so sorry and it's much like we're kind of joking around but it really makes a difference yeah we we see a lot of
• 93:00 - 93:30 people viewing your videos on YouTube but not a lot of people subscribe which is strange but they keep coming back and we want you to subscribe so you can not be notified and eventually participate in the stream live so that would be great so yeah this was interesting and you guys can check the full video in a couple of minutes when it's available and we'll be back in two weeks yeah thank you for watching bye bye guys
• 93:30 - 94:00 [Music] [Music]