I already finished the bump map (in the second-last post), so it’s time to introduce another texture: the reflection (ref) map. It alters the basic reflectivity (gloss) assigned to the material. In addition, it also alters the material “roughness”. (In the typical CG materials the roughness and reflectivity are coupled in an inverse proportion). These two parameters are important, when you have to paint an oil streak or a soot streak. Both are black – the difference between them lies in their reflectivity.
The effects of the ref map are most visible inside these areas of the model that actually reflect the light:
Figure 73‑1 shows two renders of the same model: the upper one was created without any reflectivity map, the lower one uses a basic ref map. (I created this texture around the technical details of the aircraft skin).
In previous post I have enhanced the bump map texture effect, using two different images. This is the continuation on this subject.
Have you ever noticed that the classic stressed skin of a real aircraft is not ideally smooth? It is more visible in the areas where the skin is thinner, especially on an old, “weary” aircraft (Figure 70‑1):
The wing on the left (Figure 70‑1a) belongs to a SBD-4 (BuNo 10518) from Yanks Air Museum in Chino. This wing was recovered separately from Guadalcanal (circa 1980), and restored a few years later. This aircraft is in flyable condition (registered as N4864J), but has not flown since its restoration.
The wing on the right (Figure 70‑1b) belongs to a SBD-5 (BuNo 28536) from Planes of Fame, also in Chino. This wing was also recovered from Guadalcanal, in the same time as for BuNo 10518. This aircraft was restored, registered as N670AM, and made its first flight in 1987. Since that time it has been flying during various air shows.
After a long break in August and September (I had to finish a demanding project in my daily work) I am back. This week I made a “slow start”: because in my last July post I finished mapping the SBD-3, now I mapped in the UV space parts that are specific to the alternate Dauntless versions: SBD-1 and SBD-5.
Let’s start with the SBD-1: when you switch into its scene, you can immediately see the gray elements that are not mapped in the UV space (as in Figure 62‑1a). These parts are specific for this version: