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Current time:0:00Total duration:2:47

Video transcript

so far we've been working with purling noise in one dimension but remember the problem we really want to solve is in two dimensions luckily we can apply the exact same idea in 2d this part is really fun remember to generate 1d variation we used a 2d curve to define the variation of the base color along the line we use the X component of the curve to define the horizontal pixel position and the y component you find the brightness of each pixel but to make 2d noise we'll need to start with a 3d surface to define the variation across a plane think of a 3d surface as a collection of points which have an XY and z component for example here is a surface defined by a bunch of random points think about the x and y coordinates of each point as defining the pixel position in a 2d plane and the z coordinate will define the brightness of each pixel if we do that we get a 2d output which looks like this notice the peaks of this surface result in lighter points and the valleys are darker as before the output has very sharp boundaries between light and dark areas that's because the surface isn't smooth luckily we can subdivide this surface in the exact same way we smooth our 2d curve this will add new in-between points to our surface resulting in smoother transitions and that gives us this very natural-looking variation it's exactly the kind of cloudy pattern identified in the shading packet you probably want to try this out for yourself in the next exercise you can try matching some 2d patterns using this technique we will give you a target pattern and you can match this by adjusting one the base colour to the resolution this is how far we zoom in or out of our surface 3 the subdivision or how much smoothing we applied to the curve in this example we're manipulating a few parameters to get our look but in a real production shading project how many parameters would you adjust well backward characters would actually be usually in the hundreds but main characters like Arlo you would have up to thousands if it's he's in mod you would control how much mod it gets or the call the mud or how dry the mod is supposed to be he could have rain and so you would control like maybe how fast it is or the different parts where you want the rain to show up he could have bruises like throughout the journey he gets bruises and he gets like part of the journey represented on his body and you would have controls for all of those things besides you know collars or you know maybe in certain environments he looks a little bit too shiny so you want to bring the shininess down or things like that so there's just controls for pretty much everything so it's complicated