This material is used to render transparent surfaces like glass, acrylics, and gemstones. They can be colorless or colored, as well as having the correctly colored shadow and level of absorption/fogginess.
True dielectric materials would retain the white color. Make subtle changes here to avoid losing all physicality as this control result is multiplied against reflected ways.
Similar to above, true dielectric materials would retain the white color. Make subtle changes here to avoid losing all physicality as this control result is multiplied against the interior and rays reflected from the inside. It's best to use the Interior > Absorption parameters below for realism.
Microfacets or tiny bits of roughness can scatter light in a way that has a blurry result. The less rough, the mirror-like and smooth/slick the material may look. High values will simply look diffuse.
Here is where you supply a signal, either a texture or procedural pattern, to create a bump to the surface to "fake" surface details like small bumps or scratches. This means an artist doesn't have to model these tedious and often repetitious parts of a model.
How strong the tail effect should be in a linear fashion.
Defines the roughness of the tail, full roughness at 1.0 will stretch the furthest with 0.0 being no roughness or no length.
This control determine the direction light travels, more forwards (positive) or more backwards (negative) toward the light source when it travels through the object.
This allows you to alter the direction of the anisotropy using a tangent map/pattern.
You can rotate the specified direction around the normal a full 360 degrees.
These parameters control the bulk of a dielectric material. When you think of what makes a glass object look like it does...the color and clarity, it's the absorption.
This is the volume color. This allows the object and shadow to be correctly tinted. A value of white is no absorption, no tint or shadow. A black value is totally opaque, black and solid. If a color is supplied and this is the top of a Lama Stack, it will be the coating color.
The maximum reach in scene units of light before it is absorbed.
This defines the color of the light that gets scattered rather than absorbed by the above absorption controls.
This defines the scattering direction of the light, it can be forward (positive) or backwards (negative) scattering. A value of 0 is isotropic, all directions.
This controls how opaque the resulting shadow is after taking into account the above parameters controlling Fresnel, coloring, absorption, etc. A value of 0 is a fully transparent or invisible shadow.
Controls the resulting coloring of the shadow where 0 is black and 1 is the same as the color set as Transmission Tint.
This sets the influence of the Fresnel setting on the shadow after a ray passes through front-facing geometry.
This sets the influence of the Fresnel setting on the shadow after a ray passes through back-facing geometry.
This defines the exterior medium IOR be it air (the default), water, or a layered material like a varnish on top using a Stack node.
This allows you to add energy to the result as microfacet or very rough materials may lose energy and artificially darken the result.
This defines the roughness based on curvature and may help reduce fireflies or bright pixels/artifacts in rendering.
This defines the roughness based on the motion of the object and may help reduce fireflies or bright pixels/artifacts in rendering.
Defines the Arbitrary Output Variabe (AOV) name for the resulting Light Path Expression (LPE)
If several stacked dielectric lobes with extinction have the same Lobe Name, they need to have different defined Interior Ids. If their Lobe Names are different then the Id is irrelevant.
This defines the name of the lobe output of the final lobe weight to an Arbitrary Output Variable (AOV)