Hey, everyone. Welcome back. And in this video, we're actually going to be shading this lamp that is one of the assets inside of our interior scene. So some of the things we're going to be doing in this video is having this lamp have a nice transmission, and letting some light actually penetrate and go through this surface, and allow the illumination of the light bulb to show through. We're also going to start talking about specular materials and how we can get this lamp looking really, really interesting. Okay? So what I've done to just prep for this scene is created some Octane materials for us and actually got them into the right mode, and then actually addressed assigning them to the different mesh parts. So we don't have to worry about that so much. We can just concentrate on the shading. All right. So let's go ahead and the first thing we probably want to do that would be the easiest is just to start on the actual Light Bulb material. Okay. So this Light Bulb material is actually applied to a actual mesh that looks like a light bulb. So if we actually come in here and we select that guy, and then let's just deselect those polygons. And I believe it's this tag right here, if we say, "Select Polygons." Oh, that's actually the support for the bottom part. I actually have the light bulb itself with the actual material that's applied halfway up. This other part is just basic plastic that's going to be underneath the light bulb. Okay? So I actually have that divvied up for us and we can just start concentrating on building out this shader. So I have the Octane Render view going in the background. So I'm just going to kind of move this window over here, and let's go ahead and start building this out. So for the diffuse, we're just going to leave that at black. And then let's come down to the emission and we need to add an Octane Texture Emission, which is right here and let's go ahead and load that up. And for the actual texture, we just need an RGB Spectrum. Okay? So we're going to be using that as the actual light emission, and immediately you can see light pouring out from that area that is the light bulb. So we're going to go over to the Kelvin Scale, and let's just go ahead and just make it warm, like 3,200, kind of incandescent. Okay. So right now, the power is just way too strong and it's putting a little bit too much warmth in there. So let's try like a value of six. I think that's working a lot better for us. Let's kind of zoom out just a little bit, kind of get a better view of how that's casting it into the scene and that's actually pretty believable. So the other thing I want to do is just turn the sampling rate up to 1,500. What the sampling rate is going to do is it's going to tell Octane to concentrate on that small source, and it's going to clean up a lot of noise. That's one thing Octane really struggles a lot with is having very small light sources. Sometimes it will put a little bit too much noise into the scene. So with 1,500, we're telling it to really concentrate on shooting out rays from the surface area of the actual bulb. Okay? And before we wrap this video up, we're going to kind of split this video into two parts. Let's go ahead and look at the lampshade. So let's go ahead and just turn the diffuse down to zero, and you can see I have two different materials here. I have one for the actual trim, which is that same rug brown color. I'm just repurposing that here. And let's actually...we can leave the roughness at zero. It's fine how it is. We basically just want to come down to the transmission, and we want to start messing with this. So I know I'm actually going to use the C4D gradient here. So let's come down to the Common tab and make sure this is set to 2048, and that's going to look good for us. I'm just coming down here to make sure that this shader is exactly the size that I want it to be. So we'll come back up to the transmission, and we're going to add that gradient. Let's dive in, and we're going to change the ramp to 2DV so it goes up and down. And we're going to change the outer portions to about 80% white, and then we're going to have one in the middle. And we can right-click and say, "Distribute those knobs evenly." And then this one will be 100%. So on each side, it's not quite letting the light escape as much as it is in the middle. So you kind of get this like nice illumination on the top and the bottom part. It's kind of hard to see here because our actual light bulb is so bright. But it'll be very evident once this is placed into the scene with the other light sources. And one thing we can do to just kind of check how that's looking is come down to the Camera Imager, and the exposure right now is at six. But if we turn that down, just like a real camera, we can kind of see how that gets darker on the top and bottom part. So that's looking really nice. Let's go ahead and crank that back up to six, and we're going to continue on. One thing about this lampshade and I mentioned the power of the light bulb, it looks like it's too strong. Right? Like the light bulb looks like it's way too bright and it's overexposing this entire lampshade. Well, right now, our diffuse is at zero, so there's absolutely no diffuse contribution to this. So think about this as the base color input. Right? Like we don't have any base color input. The only thing we're doing right now is scattering it with this transmission. Okay? So we're letting light go in and out, and we have absolutely no diffuse. So let's go ahead, and let's kind of put "0.9" and "0.9" and "0.9" in there so we get some type of diffuse contribution, and you can see that helps a lot. And that's actually going to make this look very real. What you can see here is the shadow of the actual bulb and the shadow of the support that's coming from the sunlight. So that sunlight's so intense that it's able to pass through both of these layers. I should say "four layers," because we basically are penetrating one two layers because of the thickness, and then one two layers as we're going out. So there's actually four parts that it's passing through, this light ray, with the mesh. Okay? So the mesh thickness is actually very, very important to have to simulate this, to make it look very real. And I believe that's it. I think that's looking pretty good. I think we've tackled everything we need to. We have 2048 here again, just to make sure. And in the next lesson, we're actually going to take a look at creating some more specular materials for this part of the lamp, for the base part of the lamp. So thanks a lot, guys, and we'll see you in the next one.