Transcripts
1. Introduction Trailer: My name is Emil Sligas. I'm a lead 20
environment artist, and I will be your
instructor for this course. In this large
course, I will teach you everything that
you need to know to create a high quality
Japanese temple environment for games and cinematics
using Unreal Engine five. This course will cover a
very large number of topics, but some of the biggest
topics are as followed. One, doing project planning and creating proper
blockout scenes, two, creating assets that make
extensive use of Nanite, three, creating an advanced shader that allows for highly optimized textures and scene performance. Four, creating tilable
materials using both Z brush and
substance tree designer, five, creating unique textures using substance tree painter, six, doing level art, lighting, and post effects in Unreal
Engine five, seven, using advanced displacement
and scattering techniques to add real
displaced textures, moss and leaves to our seene. Eight, creating high
quality foliage assets. Nine, various
techniques on creating and optimizing scene,
and so much more. The general takeaway of this
course is that at the end, you will have the
knowledge on how to create exactly what you see
in the images here, and you can apply this knowledge to almost any type
of environment. Because we want to
make sure that you can follow along with
every single step, we made sure that almost
the entire tutorial is recorded in real time
and fully narrated. There will be a few
small time lapses, which will cover very repetitive and time consuming functions. However, we have also included these time lapses in
real time as a bonus. We will start this
course off by planning our environment and creating
our blockout assets. During this time,
we will already design our entire level layout. After this, we will first create our tilable materials using substance tree
Designer and Z brush. Then we will focus on
taking our assets to final. In these stages, you will
learn everything from modeling to sculpting in ZBrush, UV unwrapping, in Rhythm UV and texturing in
substance tree painter. We will then focus on getting
all of the models and textures in Unreal Engine and implanting
them in our scene. We will also be creating an advanced material that allows us to
basically render out our textures at extremely
low resolutions while keeping a high resolution feel for amazing performance. After this is done,
we will start by focusing on our
first lighting pass, creating some additional assets, and taking our scene
closer to final. We will then go over some advanced scattering
techniques, which, along with the power
of Nanite allows us to render actual geometry,
moss and leaves. Finally, we will finish up by creating some high
quality foliage, polishing up our scene, and optimizing our
scene further. Then we will take some final screenshots of our environment, and then our scene is completed. I feel confident that at
the end of this course, you will have to know
on how to create a wide variety of game and
cinematic environments.
2. 02 Going Over The Project And Reference: Hello, everyone, and welcome to the very first chapter of our Japanese Environment
Tutorial course. What we're going to do in
this chapter is we are just going to go over which
reference we are going to use, gather a bunch more reference, and then in the future chapters, we can just jump right in and start by creating our blockout. I'm here on the profile of
cycle circle on R Station. He was kind enough to
allow me to use one of his concepts to base
this tutorial on, and then of course,
we are going to take our own direction with it. He has created some really arsome looking
reference over here. I myself, I'm a big fan of Japan and just like the culture and the architecture and everything like that. So a while back, he posted
this work over here. It just has a name practice. So I will go ahead and include this work into our
reference folder. But I just really,
really like this work. I liked the contrast
between the wood and then all the greens and like this Japanese swine
and stuff like that. So what I wanted to
do is I wanted to grab this reference and
base our environment on it, and then also extend
everything a little bit more. So what we have is in our
source files over here, you will have a reference
folder, and in here, I placed already the reference, but I highly recommend to
like a follow cycle circle. So over here, this is
the reference image, and then I have another
one which just gave of the same vibe just so that we have a little
bit more reference. Now, I have actually already gathered all of
our reference over here. Normally, what I do
in my tutorials is I show you how to gather
all of the reference. However, over here, I have some really, really nice reference. And this is because my good
friend, Jonas Ronegard, he basically allowed me to use, again, his reference backs. You guys also get
a big discount. They are super cheap,
they're only a few dollars. But in here in the reference discount
codes, there will be a code. I believe it is going
to be Fast Track, but I cannot be one hund percent sure yet since we have
not created it yet, but it will give you
a very nice discount. So basically what I did is I got his RevPack Japan traditional, and I got Volume one. Two and three. So
it's really awesome. Like, unfortunately,
I've never had a chance to go to Japan. I'm
going next year. But Jonas, he actually
lives in Japan, so he can get like this really, really nice high
quality reference. I'm just having a look
at, like, the next one because there's also
Japanese streets packs. He also has those,
but there should be another one somewhere over here. Ah, here, reference
pack traditional Japan. And all of these images
are super high quality. So let's look, yeah, like
6,000 by 4,000 quality. And it's a lot of reference. So I really highly
recommend if you are making a Japanese environment,
just get this reference. Like, it's really awesome.
It is also quite cheap. And I'm not just saying that because he's a buddy of mine, and I want, of course,
to give him some sales. But honestly, if we just have a look around, it's
really good reference. So all I did was
I basically just downloaded over here
these few bags, and I just went ahead and I just grabbed only the
images that I wanted. So the way that I
did that is I look, of course, at my
main ref over here. And then I describe images
that are relating to that. That's why over here,
you can see, like, a lot of images that Jonas took of gates so that I get
a really good sense of, like, the wood and the
structure and all of that. Next to that,
another key element. So here you can see some
more key element is mood, and I wanted to go
for a bit like this, like blend between L, it's starting to become
spring, I believe. Yeah, spring. So like a blend between where the leaves or
no way, ent or spring, maybe. I don't know. A blend between green leaves and also like collar leaves. I
really like that. So I want to try
and get that mood. And we are also going
to like this is one of my main reference images
for, like, the roof. We are going to, like, create this really nice
effect thanks to Nanite where we can place actual jom tree
leaves in between, like, the roof tiles
and everything. And it's going to be
really, really cool. So next to that, over here, I also gathered some reference
of these little houses. I'm not completely sure
what they are used for. They are probably all
light or maybe for birds, but I think they are
just for lights. And it's because over here
you can see these ones also. Now, what else did I gather? Over here, I just
gathered a bunch of reference that has to do with wood and structures,
as you can see over here. And remember, all of these
come from those packs. So I didn't really go
to Google and find anything there because I could find everything I
need in here already. Then down here, I just have some I call this random v. It's
just like cool v that I had. But I didn't really
have a place for it. It's really nice
to show the moss because we are actually going to do a really cool technique. With having actual geometry moss thanks to Nanite and we
will also use it for, like, a punch or
other techniques. It's going to be
really, really cool. But we will go over that, of course, a little bit later. And let's not forget
ceiling ceilings or roofs, sorry, rooftops. So over here, I got a bunch
of images of rooftops. Our rooftops, I'm trying
to keep them a little bit simple just because I don't want to overwhelm
you guys with it. But we are going to
have our rooftops. They are going to
be all like nanite so super high quality rooftops, and it's going to be like
this design over here. So if you just have a
look, it's once again, this design over here is mostly what we will be using
for our rooftops. And we can definitely, once we have created that we can use it over and over
again all over here. But rather than creating a
material like a texture, just like displacing it,
we are going to have actual geometry rooftops with full on geometry on all of this. We are going to make heavy use in this environment of nanite. However, we are going to create a very special shader that I've never created in
the course before, which allows us to highly
optimize our materials, even to the point where we
could literally texture this entire environment with maybe only like I don't know. Like, let's say all
of these stairs. All of these stairs over here, we could literally
texture it with only 25, 12 textures, one norm
map and one base color, along with some really
interesting shaded techniques. So I'm also quite excited
to show you that, and it has been completely newly developed specifically
for this course. And, of course, for the foliage, what we're going to do is I'm
going to actually walk you through creating your
own foliage textures and then of course, creating your own
tees and all of the foliage that comes
around with this. Now, next to all of these reference images that
I have over here. Unfortunately, I'm not allowed
to include these images. I will include these ones
over here, but these ones, you will have to get
the reference back because it's not really
fair if I include paid content into
a tutorial that I myself am also
charging people I do, however, have a bunch of really high quality close up
images of stairs over here, and these will be included very simply because I
made them myself. So you can go ahead and get these really nice
high quality images. They are actually
12 K resolution, so they are really, really high. But it will give us some great reference for when we are going to
sculpt the stairs. And we are going to sculpt them more in the
direction of this, to be honest, because this one falls more in line
with the style. This one is really more
like a European type stair. So I don't want to
go too intense, but we can just like, do a little bit of
balancing between them. And I also have some high quality wood reference over here that we can use
along with all of the other wood reference
that we have up here to create the
wood that we want. So we are going to
later on create a master wood material that we can pretty much
use for everything. And it's going to be like, I don't think I want
to go for red, although we can have a look
and see if red, looks nice. But it kind depends
how it will look in contrast with the rest of our leaves and
everything and our foliage, but I probably want to
go for a wood like this, and then maybe a
little bit older. So we are definitely going
to also work on that. So that's basically an
overview for our reference. And yeah, I would say
that at this point, we can just jump right in and we are going to get started by manipulating a little bit more of this main
reference image, and then we are
going to get started by creating a blockout.
3. 03 Preparing Everything For Our Blockout: Okay, so we now went over our reference and
a little bit over the projects that you all
know what we're going to do. However, there's one more thing that
we need to do before we can really dive in and that we
need to create a blockout. So a blockout is basically a low detailed version of our environment to
give us a proper sense of the scale and
of the shape and composition and also of the type of pieces that
we need to create. So blockout is always vital whenever you are
creating environment. I rarely create any environment or even asset without first creating a blockout so that
I get a proper sense of the scaling and all the
shapes and stuff like that. Now we have this really
Awesome concept bat that we are going to
base everything on, but there is one small problem. And that is that this concept, the format is in this vertical, like phone I always call
it the phone format, this vertical format over here. However, the environment
that we will be creating, it will most likely be in a 16 by nine or more like a cinematic format
with a 2.38 crop, which is something that I will show you if you
don't know what it means. But anyway, so now we
arrive at the problem. Usually, we would fix the
problem by simply making up whatever we want to have
outside of the screen. However, what I wanted to
show you is I wanted to show you the new Photoshop
generator fill function. Now, please mind you
that I am highly against replacing concept artists
with AI generated tools. However, I feel like this
to what I have over here, I can use it because I'm only using it for inspiration and I'm adding on top of what the amazing concept artist
has already created. So it's like a gray area where
it's just because I'm not very imaginative
enough to think of, like, what would be
outside of these frames. I can, of course, do it, but I want some additional
inspiration. I got the Photoshop Beta. If you have Adobe, you can always go to
the Beta apps or Beta, whatever you want
to say, over here, and then you can get
the Photoshop beta. So what I have over here,
if I just open it up, I just went ahead
and I created a new 2560 by 14 40
Canvas, and that's it. I just passed, Okay, make sure that if you go
to image and mode, that it is set to RGB
color and not grayscale. Now, at this point, what I want to do is I want to drag in our main concept art over
here, which is really nice. So we are not going
to use the AI to basically generate a
final image for us. We are just going to
use it for inspiration. The nice thing about the
Photoshop generator fill is that next to it being more ethically sound
because it does not steal various generated
art from other artists, but rather it literally just looks at your
original picture and it tries to come up with
additional details. It allows us to, for example, select and if we
just hold Shift, and I'm just using
my selection mode, select these white
areas over here, and then down here you
can see a generator fill. When we click it and just press generate without
adding anything in, the cool thing is
that it will create or it will take the
style of this image, and it will try to come up with a logical generation
and add it to it. So doing this, it will give us a little bit more inspiration on what would be outside
of the fields, and we can decide for ourselves when creating a blockout
how we will follow it. So here you can see
that it's really cool. You can see over here,
it's definitely you can see the difference between the real concept art
and the Photoshop, the Photoshop is just blurry. But it also allows us to
go over here and see. It allows us to give
us a sense of what do we exactly want to
have in this scene. So just like that, you can go ahead and you can have Look. What you can also do is you can also if you don't like it, just do it and generate again, and then you can try to just get something that you like
a little bit more. Now, what I will show you
is when this is done. Is the things that I
want most focused on. I was not so much focused
on, like, the foliage, but more like how
we can properly end these buildings over here. And that's kind of what I
wanted to have a think about. So over here, you can see,
this one is quite interesting. This one here, extends the building, but I
don't really like that. It doesn't give, like,
a nice composition. And here it just kind of breaks. So basically, if I just take this one and I will use this as a little
bit of inspiration, then I can see, yes. So if we extend this building out and then kind of have it end before we arrive at
this wall over here, and then we will
just have an ending. And I think for the ending,
we will probably go ahead and do we can do like an
ending like this. Or what we can do is we
can have a corner ending, like you can see over here where it's like a proper corner. So it's up to us to decide
how we want to create that. And that's something
that we will figure out in our blockout. So that's another
important thing why our blockout is so important because it can also give us some additional ideas. Now, over here for the pathway, I know it's really
difficult to see, but one thing that I kind
of like is that it's like a natural stone type pathway. So that's something I also want to create along with this. And over here, I know from experience that we will have
more of like a close up. So our shots will probably be more like this probably
like over here. And if I just go ahead
an image and copy, this will most likely be more of our shot because
we are going to go for, like, a slightly
more cinematic shot. So we would end up with, like, these black bars over here, I guess that because
of the image. So we would most likely end up with a nice cinematic shot with, like, some black bars
sitting in front of it. Like that. And then we
would have a Cinemagshot. I quite like that to create
those type of shots. And what you can see is
that most likely over here, instead of also creating an entire new looking
piece down here, we will probably just
extend it out of the view. But we're going to have
a look. Our key goal for the blockout is to
create something we like, but also to minimize the amount of assets
that we need to create. The reason for this is
because in a tutorial, I cannot go in and create like 20 different or 30
different assets. I just do not have
the time for that, so we really need to minimize everything as much as possible. So at this point, let's stop talking and let's
go ahead and dive into a new Unreal engine project to get started
with our blockout. Okay, so I am going to use
the latest version of Unreal, which is 5.2 just because as soon as we are
working in Unreal Engine five, you just kind of
want to try and use the latest version
because so much new stuff keeps getting added and so
many bugs keep getting fixed. It's just like a really
solid way of starting. Next, what I want to do
is I want to click on my games and in my
unreal project browser, I'm just going to go for a
blank project over here. You can always art these later on and I will show you
in just a bit how to actually do that
because I found that not many people actually
know how to do that. What I'm going to do is I'm going to go ahead and I'm going to save my unreal project, so I will go ahead and
make a new folder called Unreal Engine over here
in my source files, and in here, I'm
going to go ahead and I can just press
Select Folder. Then for this, I will call
it JP the Score Tutorial. Now, the reason why
I'm keeping the name short is because often whenever you are creating
an unrelenting project, you can only use a certain
amount of characters. I don't know if I can
keep typing here, see. If I keep typing, you
can see that it says the project part cannot be
longer than 130 characters. So that's why I keep
the name short. This is just because
I always have a really long project
part because I work from Dropbox and it just creates this
really long part. So make sure that you
keep the name short. It will just save you a
lot of issues later on. Now, what I'm also going
to do is because I just want to get the best quality possible out of this project. We are doing some really
high end optimizations with our textures
and with our models, and in return, we can push
the quality a little bit more using nanite and
using rate racing. So that's basically
why I want to go ahead and turn
on rate racing. I do not need starter content, as far as I can remember. Nah, for this project, I
will not need start content, and else I can always input it. So let's go ahead and
create our project over here. Here we go. Okay. Awesome. So the first
thing that I always like to do is whenever we are creating new project in
your content folder, create a new oh, sorry,
let me just move this. I'll move it over here.
Create a new folder, and let's go ahead and call this folder JP scored tutorial, in my case, but just name it whatever you want to
name your environment. And in here, I'm going
to create a folder called scene where I
will place my scene. I'm going to create another
folder called textures, where I will end up
placing my textures. Another one that I will call materials in which I will Oops. I cannot type materials in which I will
place my materials. And in here, I want to
create another folder called master in which I will
place my master materials, basically our shaders and another folder that
I will call assets. Okay, cool. So what I want to do is for
my blockout scene, I always like to go ahead and start with like
a really basic scene. Actually, later on, what we're going to do is we
are actually going to turn the blockout scene
into our final scene. So we do keep that in mind. Now, my engine scalability
is currently at cinematic. I feel that's a little bit over the top for what I need
right now for a blockout. So I'm just going to go ahead
and keep it at epic just to make sure that my computer
is not suffering too much. And I'm going to go
to File new level, and I'm going to create
a new basic level just so that we already have
some lighting in there. The reason I don't like to
use open words because I don't need a level with, like, a massive train that's kilometers long and all
that kind of stuff. So again, this is not an
introduction to toil, so I will not go over the
basics of wheel on how to, like, fly around and
that kind of stuff. I will just show you
the workflows needed. And in the meantime,
you can read the keyboard shortcuts
that I am using down here. Now having this scene, let's
start with an easy one. File safeguard level. And I'm going to save
it in our scene folder. And I'm just going to
call this blockout, and later on, I will
do another save as. Oh, no, sorry, I cannot do a save as on the blockout
because we are going to replace our lockout meshes. No, no, I can do that. For
you guys, I will leave it. Normally, I don't
bother doing this. Normally, I just like replace
my blockout into the final, but I will try to keep things
separate for you guys. Although I cannot promise it
will stay completely intact. So just take it with
a grain of salt. Okay, so we now have our
blockout scene over here. Sorry, that's a
buck that I have, so I just need to
press on in boot. Now what I'm going to do
is I'm just going to go to my settings and go to
my project settings, and I'm just going to
quickly go through my settings to make sure that I have everything set correctly. Now, the first one that I always like to do
is I like to go to Maps and modes and set the editor startup map to my blockout level and
also the game default. This means that whenever we open up our unreal engine project, it will automatically open up our blockout level over here. I then want to scroll down into our engine and
rendering over here. And I just want to
make sure that all of my settings are
correctly turned on. So we have texture streaming. We do not need virtual
texture support. For us, it's not
very It is just not needed because we are just
creating a small environment. Virtual texts is basically
great if you want to render really complex materials
like landscape materials, those kind of stuff,
but not really well, it's just not really needed when you wanting to render
props, for example. So that's fine. Dynamic
global ilumation is lumen is correct. Reflection mode is also lumen
that is also totally fine. Then over here we have our lumen use hardware rate
racing when available. I want to go ahead and
turn that on over here. And yes, we want to
go for surface cache. This will basically utilize
rate racing within lumen. So it will almost like combine
lumen and rate racing. I'm also going to turn on already high quality
reflections, which is another new one in nal Engine five
points one and two, I believe, which
basically allows us to just create really
nice reflections. Virtual shadow maps
is totally fine. Support hardware rate racing
is what we want to do. The rate race shadows
and skylight, I'm leaving them off for now. Because that one is more
like we need to see what it looks like when we actually arrive at lighting chapters, which are very, very later on. For us, everything seems
to be totally fine. Like all default
settings are often fine. If you want, you can
double check to make sure rate racing is
correct by going to platforms and windows and
just making sure that it is stating SM six and
also direct X 12. Then you know that rate
racing is turned on. But it's looking
good, so I can close it and I can save
my scene over here. Now let's go ahead and
start preparing our scene so that we can start creating
our blockout, I mean. So let's just move
this out of the way because I like to work in 000, and I don't like to
look at those icons. The first thing that I like
to do is I like to go ahead and grab this plane
over here, delete it. And I'm going to just
go ahead and create a landscape material just because I know that later
on we will need a very, very basic landscape
material to paint between grass and dirt
and that kind of stuff. So it's just easy to
already create a landscape. I can do that by going
down here into landscape, and then it will
instantly already, like, create a scene for us. And in terms of the location, I like to set this always
to zero, zero, zero. I don't know why Well, I guess the reason
why it goes into 100 is so that you can paint
downwards a little bit easier. But it's up to you
if you need it. So basically,
keeping this at 100, as far as I can remember, although this might no
longer be the case, it means that when you
want to paint your train, it's easier to paint
like big holes, but I can remember
that nowadays, you can even set it at 000,
and it would still work. Just for the sake of this toil, I'm going to leave it
at 100 just in case. And what I'm going to do
is I'm going to go ahead and this is totally fine. Like, it's a massive train. I honestly don't need
it to be this big. So if I want go to 31, buy 31 quads over here. And I'm happy with
this. I'm just going to go ahead
and press Create, and we can always change
this later on if needed. Now at this point, I'm going to go ahead
and go outside of the landscape mode by going
back into selection mode. And what I want to do
is I want to create a default gray material. I can do this by going
to materials and master. And in here, I
just want to right click and create a material and call this plain nscore master. That's always the naming
convention that I use. All I need in this
material is to control the color and to
control the roughness. For the color, I can right
click and type in constant to get a constant three
vector and press Enter. So this is really
basic material stuff. I then right click again and
convert this to perimeter, which allows me to
basically control the color in something
called a material instance. And I will call this base color, and I'm going to set
a default value to be like just above mid gray,
and then press Okay. You can drag this
into base color. And now for your roughness, you can just hold
a and click once, and that will create
a scale peameter which is literally just a value, and we are going to call this roughness because
roughness maps, they can just be black or white. So what I'm basically
telling is instead of a color, I will give the value. When the value is zero,
it will become black. When it is one, it
will become white. So I'm going to set this to 0.7, for example, and drag
this into my roughness. Now you can see that over here
we have our base material, so we can save our scene. And if you want, you
can grab your train, and you can literally
just, like, drag in, let's first of all, just create a material
instance and call this gray. And then drag this one into
our landscape material. It's always good to just create the material instance
because then you can go ahead and turn
on the roughness and the base color and change
the colors if needed. However, this is, of
course, a blockout. We are going to work much neater when we actually create
our final environment. Now there's one last
thing that we need to do before we can start by
creating our environment. And let's go into assets, and I have given you guys
a very simple model. So if you go into
your source files, expots I've given you this
scale Rv model over here. Basically, I've been using this model for many, many years, and if we import it, we
can go ahead and just go into advanced and turn on
combined measures already. And then we can go ahead
and we can press Import. Now with the scale Rv,
if I just write it in, it's basically just like
a little character, as you can see over here, and this allows us
to know roughly how large everything
needs to be based upon the scale of a
real life person. If I go ahead and just reset the X and Y to zero over here. So now it is exactly
in the center. Like you can see over here.
Now if I would, for example, go ahead and grab go to shapes and cube because I won't show
you the rest later. I can go ahead and set
this to, for example, 0.2 0.2 by 1.8, which is 1 meter 80, this is often default
scale of a person. If I now move it up, you
can see that over here. This is roughly the
default scale of a person. The reason I'm showing this
is because it all depends on your video game and where the eyes of
your character are. You might want to scale this one up or down a bit
depending on your character. However, I'm just going to go ahead and keep it at this scale. Now, one more thing that I
need to do is I need to make sure that it is facing
towards the front. I can do this by going
into IT and then, sorry, IT, by going to the perspective and then go
to the front perspective. And now I can see
over here that I just need to go ahead
and I need to rotate my character 90 degrees like this so that it is looking
at me from the front. And I'm just going
to go ahead and go to my perspective mode again. So now I have my character
at 00 and I guess 100, and it is looking
exactly at the front. And what I can do
is I can also go in and add my gray
material over here. And by the way, my gray
material instance, I like to always move it to the base materials
folder because I like to have all my
instances in this area. What I'm also going to do
is I'm going to open it up, replace my gram material here. Let's also turn on anite
just for good measure. Save. And this way, I can go into my assets and remove
that gray material that automatically
imported. Oh, there we go. Awesome. Okay. Now, I would
say that at this point, maybe one last thing that I
want to do is quickly go into my plain master material
and just turn on two sided. I just remember
that I forgot that. And that will just help us
later on a little bit more. So there we go. And now we are ready to get started
with our blockout. So in the next chapter, we
will go ahead and we will start by defining basically the stairs and their scaling because everything kind of
counts on those stairpieces. I will end this chapter off
by going ahead and also importing my generated
image over here. Like this. And that will give us a better sense of
what we are going to do in these areas over here. Awesome. Okay, so let's go ahead and now continue to
the next chapter.
4. 04 Creating Our Blockout Part1: Okay. Awesome. So let's go ahead and get started by actually
creating our blockout. We are going to get started
by defining over here our stairpieces and over
here like these wall pieces, and we'll take it from
there, pretty much. So I can see, yes, it's like a wallpiece and then it looks like
there's, like, ground in between because else
they wouldn't be able to, like, have grows some
foliage and stuff like that. Now, here we have
our scale character. What we are going to use for
blockout is we are going to use the built in Unreal
engine modeling tools. You will only have these
in Unreal Engine five. If you do not have it by going into selection
mode and modeling, you can go to Edit and then plug ins and you
might need to just activate it by typing
in modeling over here, and then we have our
modeling tools editor mode, you can just go ahead
and turn it on. It says Beta or Beta, but it's already been in
Beta for a really long time. Anyway, these tools are awesome. They basically give us
a lot of functionality, although it's not as good
as a tree moding software, it gives us enough of
the basic functionality that we need to basically
create our blockout pieces. Now I'm going to
get started by just creating our attire environment the way I want it to look. And once that is done, then what I will do is
I will go ahead and divide everything up into
logical modular pieces. When I say modular, it's
basically a technique of reusing models so that you need to
make less models in total. So let's go ahead
and get started. I'm going to start by going into my shapes and create
a box over here. And then what I want
to do is I want to get started by deciding the height that we have of
our character over here. Now, in order to get the height
for this ball over here, it's probably better to define the dimensions of a stairpie. Stairpieces are often
20-30 centimeters high in, like, public spaces. Now, because these stairs
over here that you can see, they are quite large
and quite rough, I think probably like around 25 centimeters
would be good. And in terms of, like, the depth, they can
be anywhere from, like, 20 to 50 centimeters or. It doesn't really
matter for the depth. It's just about how you
want your stair to look. So what I can do,
which is pretty nice, is I can go up here and
I can set my dimensions. So let's set the height to
25. And let's have a look. Yeah, it looks like
a pretty nice height where it comes roughly
around your ankles. Let's go for the depth of, like, to 30 because I want
my depth to be, like, a little bit wider. I don't know, maybe 35. Because, like, I want
these stairs to be, like, nice and like, big
stones and stuff like that. So let's say, yeah, let's do 35. And then for my wit, I would argue that probably
if I ever look at this, you would probably want
to have, like, one, two or even three people be able to walk up and down the
stairs at the same time. So let's start with
maybe like 250. Yeah, 250 feels nice. Of course, right now, I'm
mostly just guessing, but let's go ahead and click and press except
to place our box. And I think this is
like a pretty good one. So now having this
stair over here, I'm just going to move
it probably behind here, behind the guy, and let's move this guy over to
the side over here. Now what I can do is I can get started by just
counting my stairs, so one, two, three,
four. Easy does it. So you have stair
number oh, sorry. One, two, three, four,
and then we have, like a panel over here. So this piece would most
likely become smaller. But yeah, we can do that
later. That should be fine. So let's go ahead
and start by just duplicating this by
pressing Canto C and onto V. And I'm just going to switch my snapping to five
so that I can do, like, a proper snap over here. One, two, three and number four. Now that I know this, I can also already create those side panels that we
have next to this over here. So for those, what
I'm going to do is, I'm just going to go ahead and go ahead and create a new box, and let's make this
maybe like 20. Nine, it needs to be bigger. 230. Yeah, I feel like
Turkey is pretty good. So what I can do with this
one is I can go ahead and I can just place it over
here and press except. And now I can use my poly
added tools over here. Polly Added tools
allows me to have basic selections like
you can see over here, and I can just go ahead and now while having this
selection, I can move it. It's not always perfect,
but it does work. So I can, for example, move
this selection over here, and this makes
sure that we have, of course, everything
covered on the side. But I can also select over
here edges when I go to these. And what I can do is
I can use this one to basically move my edges
a little bit out. You can see over here so that this is like
a straight piece. And then what I can do is
I can go ahead and move this edge and just move
it down over here. So we have a simple corner. Now the cool thing
is that it also has tools like extrude, so I can go ahead
and extrude this. And for now, what I will do is I will go ahead and I will extrude this because that I cannot
use my snapping for it. For now, I will extrude
it up until this point, and then we can decide later
on what else we want to do. I feel like that having this, it would make more
sense if I have a little bit of a height
difference in here. So what I'm going
to do is give it a slightly slight
height difference, and then probably also like a slight height
difference over here. And then I can grab
these bottom pieces over here by holding Shift, you can select multiple pieces, and let's move this up
and move this down. We don't need to make
this super precise, but I'm just teaching you guys. That's why I'm going
a little bit slower. I can then press Accept, and I can go ahead
and I can duplicate this and just also attach it over here until it
starts clipping in. Perfect. So we now
have, our base there. Now the next thing that I
want to do is I want to go ahead and create like
this slab over here, and then once we've done that, we can pretty much go ahead and, like, create the
rest of the pieces. Seeing this one, it pretty
much looks like this. I pretty much looks
like a duplication of, like, one of the stairpieces. And what you want to do is that whenever you
duplicate something, these are all still instances, meaning that if I change one, all of them would be changed. You can see because the
static mesh stays the same. So whenever you want to change a mesh without
changing the rest, you just want to press
this dup button under create and just press
except wide away. Now what I can do is I can go in and I can go in over here, and I can now go to my ply dit, and I'm going to move
this one down a bit. So this is just going to be like a tin slab and out a little bit, and I'm mostly just
guessing what I want to do. So yeah, I'm going to change the
design a little bit more. I'm just going to make it
like a not too large piece. So probably something like
this would be fine over here. So let's go ahead
and accept this. And then what I want
to do is I want to just go ahead and
create another box right next to it over here. And I'm going to have
this box probably sticking out a little bit
and just pushing it in. And I'm going to
basically push this one straight into this
area over here. Make sure to just align
this roughly like this, and then I'm going to move
it down a little bit. So this is just like
an extra stone piece that is attached to it. And I can go ahead and
move this guy over. I can now go ahead and also
place this one over here. So the reason I
want to do this is because I noticed that, of course, this entire
thing is on a higher level. So in order for me
to make these balls, I first had to decide how high
my stairs are going to be. Now that I know that, I can go ahead and I can select all of my stairpieces and
everything else over here. Oh, sorry, not all
my stairpieces. I make a mistake
because I want to first move my stairpiece up like this, and that's what I wanted to do. And then I actually wanted
to move these pieces down. It's a bit annoying
sometimes to see them. But what I can do is I can
go ahead and select them. And this time, I'm just
going to go ahead and press Extrude. There we go. And now the cool
thing is because it's a duplicate when I press accept, it will also end up doing the same thing on the
other side. So, cool. Now at this point, just go
ahead and select everything, and what you can do is
you can already add a simple gray material to them. There we go. That
looks a bit better. I'm also going to duplicate
my gray material. And got this gray
on the score dark. I'm actually going
to use this one for my train so that I can
properly see the difference. So I'm just assigning it to
my terrain and just making it a little bit darker.
Like that, see? Okay, nice. We have our base. Now what we can do is we can
go ahead and create the box, and let's start with
like 100 by 100 by 100 over here like this. And I'm going to get started by just placing the box down. Now next, this box is basically going to
become this wall. So looking at that, we want to extend this out until where the wall piece ends. It would make sense to
basically extend this probably up until the exact same height over
here as the wall. And what I'm going to do is I'm going to go ahead
and move this back. And first of all, I want
to just move this out. So for that, I'm just
going to decide, like, which direction
do I want to go? I can overhear snap by grid. So I know that
this is still 100. So if I just snap it by 100, I can make like so 1 meter, two meter, three
meter or four meter. 4 meters, maybe. Would 4 meters make sense? I just like to look at it
from, like, a distance. Yeah, I think four if I do five. Let's go for 5 meters for now and we can always change
it later on if needed. So we got this piece over here and it will have a little trim. And then in here, it will
most likely show or have a little bit of ground
or maybe some tiles and just have some ground
around certain areas. For now, we don't really
have to make that. So what I'm going to do is
I'm already going to decide 1 meter let's do 1 meter. I'm already going to decide how much space there is
between these two pieces. So what I'm going to do is let's say 1.5 meters, probably. I feel like that
would make sense. Okay, awesome. We now have
defined the scale roughly. I'm now going to go
up in my poly added, press insert edge loops. I'm just going to go
ahead and I'm going to insert like a nice
little loop over here, and then I press done
on the left hand side. At this point, I can
just go ahead and I can select these edges over here. And let me do this one. And I'm going to
extrude this just to give it a little bit
of like an edge. And then I just know to do that. When you press extrude, right now it is hte of snapping. Right now it is extruding
on a single direction. You just want to go ahead and
set the direction, sorry, set the direction mode to
selected triangle normals. And this way you
see, we can do like a proper extrusion based
upon the normal direction. We can press accept add
a nice material to this. And also, if you ever want
to change your pivot point, you can always click
Pivot and press Center. Do make sure that
if you already have duplicated this model
more than once, all of the models will shift based upon the new pivot point. But I can go in and I can go
in here and just do this. And that gives me a solid
base already ready to go. Now, at this point, what I can
do is I can go ahead and I can just reuse this piece. That should not
really be a problem. Not for a blockout, at least. We might need to change
it a little bit later on. But what I can do is
if I just turn off snap scaling, I can go in here. And you just
already, like, scale this a little bit so that it gives us just like a better look. It
doesn't have to be perfect. It's just a blockout.
So let's just do this. Okay. Awesome. Let's see. So we have this piece over here. Yeah, let's end
that piece for now, and we might want to change that up a little bit later on. Okay, so now what we can do is we can go ahead and already create the second sorry, we can already create the
second set of stairs, there is a little bit of
a tongue twister for me. So what I'm going
to do is I'm just going to go ahead
and I'm going to, let's see duplicate all of
these over here. Here we go. Let's go ahead, and
then after duplicating, move it down over here. And then this one would
probably start at this point. And basically, what we can
say is okay, so we have this, and then we have half a
stair on each side also. So what I can do is I can go ahead and I can just
duplicate this, and I can probably
set the scaling on the green axis to 0.5. Like, it makes sense
if it is, like, even because they often do
like symmetry in Japan. So we can go ahead and
just do, like, long stair. And then two half stairs for single persons or single people. And then what we can do is
we can also go ahead and move this one over here, although these ones we probably
need to replace anyway, because we are going to make everything a little bit longer. So we have this one. Now
what we can do is very easy. One, two, three, four, five, six, seven, eight, so that's nice when we define the stairs that
we know what to do. One, two, three, four, so
five, six, seven, eight. So we just need to
go ahead and we need to let me just move
this over here. Turn on my snapping,
duplicate all of this. And move it over here.
Okay. That's good. And now what we can do
with this one is we can go ahead and just press
duplicate, except. And for this one, what
I'm going to do is I'm just going to go ahead
and select all of it, and I'm going to
start by just like moving it properly to the top. And let's turn off
our snapping see, that's the right
height, I believe. Let's move a little bit. There we go. And now we
can also go ahead then. And I always like to
make my blockouts quite detailed just because it gives me a much better sense
of what I'm looking for. When I have this one, I can go ahead and press the search
bar in my static mesh, and then just select
the other three and replace the static mesh, and it should just instantly
replace them over there. I don't know why
this one decided to have the tiniest
difference in height. It's a bit annoying, but it's not something
that's really worth fixing. Yeah, and
over there, it's fine. Strange. But okay, so we now
have our base there also. So we now know that the next
thing over here that would come would be the wall or sorry, would be the doors
and everything. So we can already
start decorating, like, some walls around it. So what I'm going to do
is I'm simply going to duplicate this chunky
piece over here. And I'm going to go ahead and I'm going to already
move this up. Probably up until this
point, let's have a look. Sometimes you hear my
audio changed a bit. It's because I'm looking
on my other screen. So I do apologize for that. But hopefully it's
not too distracting. Let's place it over here
to get started with. Don't forget to
duplicate your mesh because you don't want
to edit the original. Most likely, I will
still make that mistake sometimes where I accidentally
am editing the original. And I feel like this is like, this feels like a
pretty nice distance, but we kind of we
will know if it is a nice distance when we actually place our door over here. So for now, this is just fine. I'm going to go ahead and
also grab this and just move it all the way
down. There we go. So we got this one, and now I want to kind
of go around the corner because we have this
little corner around here. So that would make sense if I
then go ahead and let's say duplicate this, rotate it 90. And I feel like if I would go around a corner and I
have, like, a distance, it would make sense
if it just, like, touches the end of the
previous wall over here. Like they wouldn't really
clip walls into each other. So let's have a look.
How does that look? Is that too much
or I don't know. It does feel quite high. That's the only
thing that I'm not really completely sure about. But yeah, we kind of
just need to check. Like, for some reason,
everything feels a little bit higher like that. But
let's just have a look. So what I can do is I can
go ahead and once again, use this one and just, like, clip it in here just to
give it like a flat ground. And at this point, et's push this forward. I think this is probably enough. Yeah, it would be
nice if we have a little corner here because
when we have a corner here, we can place like a
tree or something. By this point, I am mostly just making stuff up because there
isn't enough information. I would think that
it would make sense to have another one next to it. Yeah, we're going
to have a look. I have the urge to make
it this low over here. But let's just wait because
we can do that later on. So let's just wait for now. I'm just going to place
one more over here, and this one is just kind of like you will not really see it. It's just here to fill in
the missing space like this. Okay. And then what
I'm going to do is probably also do the same over here that
would make most sense. Let's go here and this one
because we want to end it, I'm going to just like
end it off screen so that it will basically be around the corner and you will
not be able to see it. So let's go ahead and maybe
extend it a little bit more. But I'm not sure if
I want to extend it this much because I want
to create like a corner. So what I'm going
to do is let's see. Let's extend it
once more and then rotate this. Version over here. And now what I'm going to do is I'm just going to go ahead and push this in here. Okay, so this is
going to be a copy. So you can see how I'm trying
to already reuse pieces. So that reusing it already gives me an idea for
when I want to use modular workflows on
how to use everything. And here, nice. So now we
can also close that one off. We have a corner that goes just around it, so
that's also cool. And this one we
can just go ahead and duplicate over here. So that's like a corner here and another corner
here to just go around it. Now, at this point, although I am going to quickly grab this piece and push
it all the way down, and except, there we go. Now we have, like, a nice Okay. Now we do not have a nice wall. Let's know that.
Let's try again. Yeah, does that work?
Let's grab the piece. Except Okay, now it works. Strange. Anyway, what I want to do at this point is I want to try and already get, sort of like a camera
angle because then I have a better idea of what
exactly I need to do. So yes, you might
think, like, Oh, it's going so slow, creating the blockout
and stuff like that. But actually creating
the blockout is such an important
part that yeah, we just really want
to make sure that we already do
everything correctly, and it will save us a
lot of time later on. So just ask me. So take your
time creating your blockout. I'm going to go
over here to, like, the three lines and create
camera here, cinematic camera. And there's a few
things that I like to do with my cinematic camera. The first one is that
in my film back, I like to always set
this to 24 by 13.5. It's just like a default
value that I like to set. Now, in my lens
settings over here, I can choose which
Zoom I want to do. And often I go for a white shot. I often go for 35 millimeters, which is, not 45. 35 millimeters over here, which like a bit of
a more wider shot. And if I want to go
for more close ups, I often like to go for 50. So I need to see because
let's start with 25. Remember how I said it? I want to have this corner
going outside of my view. So basically, I need to
see if I can find a place where I still have a little
bit of space left over here. And now that we
have these walls, we know roughly
where it will end, but no space over here. Of course, this camera
is going to change, but it's just to give
us a sense of scaling. So if I go If I go something
like let's have a look, something like this, maybe I want to see a
little bit of, like, the foreground just
like in a concept, and do something like this. To get started with because
then it already oh, sorry, I forgot one
very important thing. I'm going to go for,
like, a cinematic view. Right now, we are at 16 by nine. However, I like to always go to my crop settings and
set the crop to 2.39, which gives us a cinematic view. So that's my fault. Oh, and for now, set your
current temperature to like 22. This means that it will
use no depth or field, which will once again help us just during the
blockout stage. So having this, I can now
have a look at my reference. And let's say, Let's do
something like this. Like it goes off screen here, but it leaves some
space over here, and I still see a little bit of the foreground. So
this is quite nice. I quite like this one.
Cool. Now, at this point, you can go ahead and
you can just press this button to stop piloting. And if you want to make
sure that you can no longer move your camera
just to stay safe, you can right click, go to Transform and turn on
Log actor movement. And now we can just go
ahead and we can continue. So I would say, at this point, because we are getting
quite over time, the last thing that I'm going to do is I'm going to decide the height of these pieces. Because right now this feels
like such a large height. Like, it's more than a person, and I feel like like over here, you can see that
there aren't even any railings or
something like that. Like if you would fall
off, it would hurt. So let's go ahead and just like tone this down a little bit, so we can go ahead
and just so sorry, I forgot to select
this one piece. We are just going
to go in my camcor and I'm just going to then push it all down a bit until
it feels more logical, to me, it feels more
logical around this area. So knowing that, now
what I need to do is I, of course, need to match
it up with a stair piece. We are pretty much
getting rid of, I think we're just
going to get rid of one additional stair. And then for this one, what
we can do is we can go to modeling tools, polly edit. And yeah, for this one, we do need to kind of let's push this in. Oh, wait, sorry. If you do that, you want to
select all of them over here, and I want to push this in somewhere along this
line over here. Maybe also push the
height a bit down. Okay, so let's have a look. That I think is fine. So now if I just
quickly again select these pieces and see when I
line them up with the stair, if it still feels too high
or if we can live with this. So that would be
something like this. So let's go into our
camera. Ah, or one lower. See, one lower is this. And one higher is that. Yeah, you know what? I think
I'm going to go one lower. I will go one lower and
then let you do the trick. It's just really
important to get this right now because if we
don't get it right now, it will be so annoying for us to change it again later on. So let's once again just go into add into our modeling
mode, add it poly. I'm just going to
push this all back, and this will be the final. So yeah, we are not
bound by the concept. 100%, we can still make
our own creative freedoms. And I'm just going to
go ahead and do this. This distance, I was
still quite happy about. So what I will do
is I will simply grab these pieces over here, and I'm just going
to push them back in until we are
covering the rest. Okay. And now what
I'm going to do is I'm going to select
all my final pieces. And what you can see over here is I sometimes select, like, the piece that I want to
have my pivot point on last because it will always place the pivot
point on that one. And now what I can do is I
can kind of, like, move it. There we go. That
should do the trick. Let's have one last
look in my camera. Yeah, I think this is a
pretty decent start already. I'm just going to press save
all and save everything. And yeah, this is
looking pretty good. Okay, so we got this base. So what we'll do in the
next chapter is we will go ahead and we will start working probably
on the foreground. And once that is
done, we can start by already mostly
constructing over here our centerpiece
because when we know that we can change everything based upon
this one centerpiece. So let's go ahead and continue with this in our next chapter.
5. 05 Creating Our Blockout Part2: Okay, so let's go ahead and
continue with our blockout. So, yeah, we pretty
much got the base. So what I want to do now is I want to start by defining, like, our main piece, which is going
to be our door over here. So that one is a little bit tricky because these
doors are always, like, quite large, much
larger than a person. So, of course, Well, there is a little
bit of flexibility. Let me say like that.
So let's have a look. So what I want to
do is first of all, I want to create the
door piece over here, and then we'll create
everything on top. So I think that's a good
point to start with. Now, if I go ahead
and go up here, I can start by just defining that wooden pillar that we have over here and
the scale for that. Actually, what I want
to do is I want to duplicate my guy over here. So if I sometimes move
a little bit slow, it's because I'm using
a different mouse so that you guys cannot
hear the clicking. But this mouse, I'm it's
not my favorite mouse. Anyway, so let's go
ahead and have look. So we have a person over
here, and I would say, like, the door is probably, like, 2.5 times the size of a person.
That's what I'm guessing. So what I can do
is I can just go ahead and start with
something like this. Box. And I feel like it probably wouldn't be wider
than the stair over here. So let's do, like,
what was it 25? Bit wider. Let's do 30. And then I guess it wouldn't be as square
because as you can see, it needs quite a bit
of stuff in between. And, of course, I need to
make it a bit more logical. This one is not 100% logical
because it would be too fragile to really be
as like a stand alone. So you do want to
double check here, like they are quite
a bit thicker all of these wood beams. So it's up to me
to decide, like, do I want to make maybe, like, a little bit ticker,
and maybe I want to. Maybe I'm going to go do
like, what if we try 40? Yeah, let's suit 40, and let's make the depth. Like 50 maybe. Yeah, that feels pretty good.
And now comes the height. So for the height, let's
start with 250 maybe. Oh, wait, not 250. I need 450 over here. What I can do is I can start by just placing it and
pressing Accept. And now as you can
see these beams, they are pretty much
aligned with the stair. So these ones are like, really important that we
get this stuff right, and then the rest comes later. I'm going to go ahead and
because I made it quite thick, I'm going to start it at
the end of the stair. Over here. And now, one thing I immediately
noticed that if I would do this, this
would be way too white. So this is something that
I'm going to, first of all, create half of the
door and whatever is left that I will
just copy that over. It's a pretty common technique
that I often use when I'm not sure about scaling.
So we got this one. Um, what I'm going to do is I'm going to
create those little windows that you
can see next to it. So if we just go ahead and
create something like this, I'm going to go for a width
of how thick would those be? Oh, sorry, not this one. Width of maybe 40 and
then depth of ten maybe. No, 40 doesn't feel right. I'm pretty much just looking
to see that it feels right. That's all I need right now. So let's do 60. 60 centimeters is pretty white, but I think they are
pretty white windows. Maybe Oh, cancel. I think 55. Yeah, let's do 55 to
get started with. So let's go ahead and place
this one around over here. And I'm going to just, like, place it a little bit into
place roughly in the center, most likely, and
that should be fine. So this one is the same
length, which is good. Now what I can do is I can go ahead and you can
just count like one, two, three, four, five,
six, seven, eight. Always nice when you can
count certain stuff. I can go to my poly
edit insert Edge loop, and then what I can do is
from proportional offset, I can set it to even and
set the numbers to eight, one, two, three, four, five, six, seven, eight, that's nine, so need to go seven, one, two, three, four, five,
six, seven, eight. Okay. And then we can go
ahead and just place them. So this will instantly give
us some additional amounts, and then I can just go
ahead and press done. Now, unfortunately,
this is where the editing tools
are not as nice as they are inside of trees Mx or blend or
something like that. And that's where with the inset, we can only inset
one pace at a time. And you can see that over here, it breaks quite quickly. Like, I'm not sure. I'm the biggest fan of it. However, what I
could do is I could just try insert loops and then set the proportion offset because it doesn't have
to be very precise. I can just go ahead
and place these. And basically, what I'm
just going to do it, I'm just going to place my guess roughly how much needs to be. And, of course, when
we create our final, we will do this much more even and nice and
stuff like that. You can see over here that sometimes the selections
are also pretty bad, so that's maybe why
it's still Beta. But we have this one. Now, if I have a look over here, what we can do is
we can now go ahead and I just it's a really
messy way of doing it. But it's a quick
way of doing it and that's just deleting
the backfaces. And then simply selecting
the front faces, go really close up and
then just extrude this in until you hit
the back like that, and then just delete it again. And then that's enough
for a blockout, now that we have this
one, so we have this, and now we basically just need to make sure
that it kind of feels at the same scaling
and everything as that. What I would say is the only
thing that I want to do is maybe want to scale it in a little bit more like this,
a little bit thinner. There we go. And the height, it's something that
we need to figure out once we actually
have our top pieces. That's when we really
know if we need to height and how big everything needs to be
and stuff like that. So we got that one done now. It looks like there's one additional just like
poll next to it, and then we have our door. So what I can do is I
can probably just go ahead and duplicate this one, and I'm just going to press dup so that we can do
a free edit on it. And I'm going to
make this let's see, let's make this like quite thin. Move it over here. And I just want to move this in. So this one, as I said before, we are going to have a
think about support, but I think having these wood areas over
here quite thin is fine because we will have
the supports up here. I'm going to like
a double support. It's really hard to see on here, but I have a good idea for it. So yeah, that should be
fine. Like here they are. That one doesn't even
have a door. Yeah, yeah. So see are sometimes
they do have like an in between piece of wood. So let's go ahead and
just use this one. And then the next thing
that I'm going to do is I'm going to place
or create my door, which I'm going to
decide on the thickness. So I want it probably to
be quite a thick door, something like this, to
make this one a bit bigger. And for this door, yeah, it comes all the
way up to the top. So what I'm going to do is I'm going to go ahead
and once again, duplicate it, go
to my added poly. And in this case, it's
mostly just like guessing, but it's like a nice size
because these doors, they do not follow any type of standard metric or
something like that, except but of course, we can have some logic with it. So like, one, two. Like if three people at the same time can walk through
it, that is pretty good. If we do something like
that, maybe make it a little bit thinner. Probably something like this. Okay, cool. So we got
this one over here. Now for the door, I'm
just going to give it some general shapes just to make it a little bit more clear
that it is a door. So let's make two lines here, and I'm just
following my concept. Two lines at the bottom, maybe make this one over here a bit bigger because you
often see that with doors. And then I'm going to go ahead and let's go for an
even offset of two. Place those two, press done, select them, and then use this little top button over
here to scale them out. Something like this
should do the trick. And now we can insert again, and I'm just going
to go ahead and I'm going to, actually, I can do an even portion, one here and one here. Done. And now what I'm going to do is I'm
just going to set this two portion offset again. And I'm going to
give this some depth or thickness. There we go. Should do the trick. So
we got these pieces, and we don't have to, like, have them go all the
way to the other side. We just want to extrude
them in a little bit. There you go, see?
Just to indicate, like, Hey, this is a door
and stuff like that. So that should be fine. When I see this, now that
there are shapes in it, that's also why it's good to
have some more shapes in it. I do feel like I want it to be a little bit bigger,
and I don't know. I feel like, could it benefit from being a
little bit higher? Let's have a look. No, actually, no, this
is probably fine. By the time that we have
this big bulky thing on top, it will have already
reached the top. So this might actually
already be like a good size, but of course, it's just a
matter of trying things out. What I'm going to
do with these is I'm going to just
quickly select them, and I'm going to add a
gray material over here. I know that at this
point, if you want, you can already
duplicate this for now. And later on this will just
become like a plane or something because you cannot
really see behind it. Actually, I'm just
going to leave that. And what I'm going to do is
we have over here our door. I'm going to go ahead and
I'm going to duplicate it. Now with my doors,
I want to already because I think I
want to later on open one just because it will look a little bit
more nicer and inviting. I'm just going to go
to my pivot point, and I'm going to go ahead
and I'm going to set this to my bottom over here and
then move it to the side, and then press accept. And the reason I do
this is so that now I can rotate it open and closed. Now, for this one, I
need to duplicate it. Once again go to
PivPoint bottom. But this time, put it
over to the other side. And I guess you know why, just to rotate it over
to the other side. Okay. Now, these
pieces over here, we can just go ahead and
we can duplicate it. Of course, you could select
everything and mirror it, but I'm just going to keep the same pieces in case
I want to make a change. I only have to make a change
to one side of these areas. So we have this one
also over here. Something like that.
Okay. So let's have one more look at my camera. And let's see if I would like, for example, later
on, do like this. Oh, yeah, I definitely needs like work on my camera angles. But for now, I think this is, like, a pretty good
spot to be in. So what I'm going to do now is I'm just going to go ahead
and I'm going to start by extending things out a little bit and adding
additional beams to this. So at this point, what I want to do is I want
to grab our main pillar. I'm just going to
extrude this out. I don't know why I did a
weird pivoting over there. And this is just that
I can start placing some additional things
in between here. And those additional things are going to be if we
just duplicate one of these rotated 90 degrees, and let's also press
dup on it just to make it unique I can go ahead and I can move it up here,
something like this. So the cool thing is with, like, often Japanese
architecture, when it's really old, they didn't use nails and
stuff like that. Instead, they use this kind of stuff where they basically like perfectly cut out the
shapes inside of the wood, and then they just fit
the wood in there. It's a really cool
technique also over here. It's a really cool
technique that they use in, like, all the
Japanese buildings. And I also want
to kind of, like, implement that same technique. There was a classic one where you can often
see that technique, but I'm not sure
if I can find it. A, it's like over here, like, where they
would just, like, cut out the shape, and then
they would laterally just, like, place the entire
wood beam in between here. So, yeah, we are pretty much going to try and
kind of, like, mimic that. I think it will look
quite interesting. And for that, it just means that sometimes our wooden
beams need to be, a little bit less long. And what I want to do
is I probably want to, like, yeah, probably want
to move this out over here. Yeah, this seam, I'm just going to place
it in the center. I don't really need it,
but it's more of a pain to remove it than to
just leave it here. So we are just going
to stick it out over here. I think
that should be fine. Now what I can see is
that we have one beam, and then we have a
beam in front of it, but that's when we
will create later. And then we still
have these grades and then we have another
large wider beam. So what I can do is I can go ahead and
already duplicate this. So the larger wider beam I guess it makes sense if
it is the same thickness, but we are going to make it a
little bit wider like this. And this is the one that's
holding most of the weight, it looks like, and this one is also extending quite a bit. I can see over here there's
some additional detail, which we can
incorporate into it. So first of all,
let's move this up. Yeah, actually, I think
this is a pretty good one. Now, next, it means that
over here, this one, we need to Let's see once again. Like, at this point,
I'm just going to move it up and then
we will just make up when we create our final
how that is created. So what I will do is I
will probably push it up a little bit more like
this and leave it. Now for this one, on the end, you can see that we have a
little detail over here. And what I'm going through
is, I'm just going to reuse this detail that we have over here
because this one, we can then use
here, here and here, which means that we
save a lot of time. So if I just go ahead
and create that one, it's pretty much
see going up here. Let's see, that's
extruding it a bit. And then it looks like just
for the blockout, of course. Like, we will make this
much better with, like, splines and stuff
like that, later on, but for now, it just pushes out. Is it far enough or too far or I guess maybe a
little bit too fast, maybe like push it back in
a little bit over here. And now what we can do is
just to mimic that effect. First of all, let's move
this one down a little bit, is to just select
these edges here, which are bit
annoying to select, and then you can just go
ahead and do a bevel. And again, I don't know
why they don't just add an option to add more lines
in between the bevel, but luckily for like a
blockout, this is good enough. Now at this point, what you
can do is you can go to your pivot and just
sent it to the center. Oh, see? That's what I mean. Here, I forgot to duplicate it, and now we have this
issue over here. Luckily, it's not a big problem because I can quickly
duplicate this one. And then for this one, I'm
just going to go ahead and I'm going to quickly turn off these two selection
filters because here I can select between
vertice edges and faces. So I can turn off everything
but faces, delete it, turn it back on, push out
my face again a little bit. And then just select these
four edges over here, and we can just go
ahead and do a bridge. Although I can't remember
it doesn't like it, but I do it with four
at the same time. Where are you? Bridge? Yeah, see. Again, it
doesn't like that. It wants you to
bridge it one by one. So that's a little
bit unfortunate. But still, often when you are
just creating a blockout, it's such a nice tool to
have where we can just, like, quickly create
these blockouts. Now, where we we pivot
center your pivot, accept. And then also inside of unreal, we have the mirror tools. You can find them
going down over here to Timdel and then Mirror. And next what I can
do is I can go, like, left, right.
Here, we go right. And then I can just push it out. And I guess luckily for us, we can kind of use this grid. I know, maybe not
luckily for us. I was going to say
we can use this grid and kind of align
it with the door, but let's just eyeball
it a little bit. Something like this
and press accept. See? And now we
instantly mail with it, which is also nice. Okay, cool. For those things
in between here, all I'm going to do is this one. I quite like that detail
that we have in here. Now we now have some
messy jom tren here. Unfortunately, as far
as I can remember, you cannot actually do a
double click and like, here, you cannot double
click to actually select those few etches. So I guess because I'm not
in such a massive rush, I can just select
them by hand and use these etches for some
additional details. So if I move this
one probably halfway here and then do the
same with this one, just go ahead and select it And this one can be
moved halfway here. And pretty much the way
that it looks like, it's like a nice additional
detail that we have. So I'm gonna go ahead
and add an insert loop. Add one here. And another one here,
just pass except, and then quickly just grab these two pieces and push
them in a little bit. And that's just for me to remind myself that there is
going to be a detail there. Now, next we can just reuse
these ones over here, but we want to make
them a little bit smaller because they look
a little bit smaller. Although they mostly
look like thinner, not so much smaller but
thinner. We got this one. Now, I do not just
want to scale it out because then they
become too long. I actually want to push them in a little bit so that they
become more squarish. Let's move them up a little bit. And also what we can do so
we can move them in a bit. But what I can do is I can now just go ahead and
press duplicate, and once again, I can
just use my mirror. And if I just go ahead and use the mirror on the right side, here, see, I can just
quite easily extend it. And if I can now just try
and get it exactly on like a joint over here and then
scale it back in a bit. And I'm just going to quickly
select this and move it in. There we go. Easy.
So we got this one. And I'm going to for now
just duplicate it like this. Of course, I will make
it look nicer later on, although you can even
make it look nicer now by just selecting these scaling them out like
a little bit over here, see? Now they instantly
just fit a bit better. There we go. Okay, so
we got that one done. What I'm going to
do now is yeah, I think I'm first
going to create the top because once
I created the top, I kind of like know if I need to do any type
of weird scaling. Because over here
you can already see that we have
very little space, but of course, I can change
my camera a little bit. So it kind of depends on how
we want the scaling to be. So for the top, let's go ahead and go up here
and I'm going to make it, of course, like a very,
very simplified version. But this version will probably because it's going
to be a centerpiece, it will be quite detailed when we actually
start creating it. So we will end up with these
really nice top details over here with all the tiles
and all that stuff thanks to the power of Nant. However, for now, let's go ahead and do
something like this. Let's create a new
Let's go modeling. Let's create a new box. I'm just going to make it 20 by 20 by 20 because I don't know how big I want to have
this become over here. And what I'm going to do
is I'm just going to go ahead and do poly it,
and first of all, that's the site on our length. So this one just
extends out over it. So if we go probably
somewhere along here. And then somewhere along. Say, like here, okay. Now, next in terms of,
like, the thickness, this thickness is
actually fine because I'm starting by creating this
little top piece over here, and then I will make it
like thicker and thicker. So what I'm going
to do is I'm just going to push this out to
make it a little bit wider. And now at this point, honestly, you cannot really
properly decide the height. Like, what I will do
to kind of guess is, I'm just going to now go to my polyad I feel like that
this is a good actually, no, I don't feel like
this is a good width. Let's move it up a little
bit, something like this. And then it is more just a
matter of extruding it a bit like this and then just scaling it out,
extruding it a bit. And we basically
do this until we get to the point where it feels like what we
have in our concept. So over here, so it
just depends on, like, how white we want to go, and I feel like we
want to probably, let's do one small one more. Is that correct? You can also
have a look at our camera. Okay, we cannot have a look at the camera. It doesn't matter. Um, I don't know. Like that is. I feel like it's a
little bit too bendy. Let's Undo that for a
moment. So we got this one. Let's see let's extrude this. Let's make it bend a
little bit softer. Because I'm going to later on duplicate this one a bunch
of times most likely. I want to make sure
that I have it right. Although I'm going to show
you another technique where we basically use
mega scans for blockout, but that will come in
a bit. We got this. Now I need to do another
extrude because there is this flat part and
that extrude basically always looks like it's
a little bit sideways. So we got something
like this as a very, very simple base. So we can go ahead
and press except. Now, at this point, what I'm going to do is let's go actually back to my edit poly, and I'm going to
start by just doing a edge loop over here. This way, I'm just going
to extrude this out. Move it over here. Maybe like one additional edge
loop in between, which you can then go ahead
and use to move down. And once again over here, extrude this out,
rotate it a bit, insert an additional edge loop. And let's go ahead and move
this down. There we go. It's good enough. It
doesn't look very good, but good enough for my purposes. Now, at this point, if I do an edge loop here, does that seem to work? Yeah, I think I can
make that work. So if I'm just going to
create an edge loop here, another one around
here and press Accept. Sorry, I need to press done. I keep forgetting that
they changed that. And now I'm just going to
go ahead and I'm going to move all of these to make
them a little bit more even. It's quite annoying
at this point, because really like
the modeling tools as soon as you get a
little bit more geometry, they start to break. But basically what I'm
all about is that I want to go in and then come on. I say, I want to go in, and I want to, like, remove these center areas
over here, most of them. I just want to remove
three of them. And once we've done
that, it should look quite nice so that we can, place this on top of our door. I don't know why I need
so much concentration for something like this
that I can barely speak, but let's say, let's
do this one. Last one. But that should be enough. I I now go ahead
and I have this, so I want to remove
this one, this one, this one. Tick tick, tick. Let's plus delete.
And the next thing that I can do is I
can kind of go on this position and I
can select them and I can press bridge over here. It's a bit time consuming, but I can just go ahead, Egan. Keep adding these. Here we go. Let's buzz accept. Yeah. For now, that works quite well. So what I can do is then
pretty much for now, let's just place it
in here like this, place it a bit in the center, and then it's more for
us to decide like, Okay, how high do I want this to be? Mm. So from a bottom side, let's just go ahead
and go over here, and I'm just going to
go into my camera actor and unlock my transforms. And let's see. Let's move
this carefully, like, a little bit down.
Okay, like that. And next what I can do is I
can go ahead and use the blue see up until probably up until, like, this point, I
want to place it. And now that I've done that, I can go ahead and I
can Oh, I'm sorry. For some reason, my keyboard registration was in
the wrong position. I hope that does not matter
too much for you guys, but since I'm not really
doing any shortcuts. Okay, so we got like this one. There will be like a
framework inside of here, but we don't really
need it for now. So let's have a look. Um, just now comes the tricky part because now
we are going to figure out if the wits and
everything are fine. And if I do this, I do get that long feeling,
which you also get here. Like, you get the feeling
like this one is quite long. I do get that too. I have a feeling like
my roof over here. If I just go set the
pivot point to, like, the bottom and paz except, I feel like I can scale that
down just a little bit. Yeah. So, of course, it will become quite
a bit thicker. So it's really difficult
for me to do this while also showing
you the concept art. So I'm just kind of like
having a tink over here. Like the doors, they feel right. I would say that everything
feels a little bit high. Oh, God. Sorry, I
didn't mean to. Oh, I messed it up.
Didn't mean to do that. Let's start with
something like this. We will change it
later on anyway. So if I would go in and
that's annoying thing with Unreal that you can you can do Contra Alt and click
to try and select something. But what it then does is
it often selects like a bunch of stuff that you
do not want to select. So I just need to
make sure that it didn't select like here, see? Like it selected the sky
and stuff like that. But there we go.
Okay, so now we have everything selected.
So that's Controlt. And basically, all I
want to do is I just want to see if I move it down if that looks more logical. It looks more logical if I
move it down like a tiny bit. But of course, I
don't just want to move this all down a tiny bit. So I don't know. Can it be as easy as just like? No, it cannot be that easy. Mm. So these ones, let's scale
them down a tiny bit. Let's use this one as a base. Yeah. Okay, that's good. So now that we have this one, all we have to do is we
have to quickly grab these, and these ones we
can also scale down a tiny bit as long as the
piv points at the base. And then this kind of stuff, it's more like not scaling it, but moving it all down. Then the last one,
it's more about just having a tink gonna
use gray material or on it. Yes, I think we got it. I think that's a
pretty good one to get started with. Okay, cool. So I will leave
this chapter off by just creating these
last few extra bits. And then in the next
chapter, what we can do is we can create all of
the buildings on the site. And it's okay to, of course, keep
changing the scale, even after we already placed it. When we place those
additional buildings, then we just keep getting
a bigger sense of scale. Anyway, for now, what I'm going to do is I have over here, this beam, I'm going to make
the depth, maybe like 25. Yeah, that looks
actually quite nice. Oh, that's 35. Let's
do 30. Over here. And let's just go ahead and just place it nicely
in the center. So this is just going
to be those additional wood pillars that we have. And based on that,
I can also see that I need to push
everything back a little bit because over here
you can see that now we just do not
have enough space, but we can already make it and then just select everything. Let's do something like this. Add the poly, move it up. And this one would come
roughly around halfway, see? Yeah, pretty much around
halfway of the door. So let's go for
something like this. I do feel like it's a
little bit too beefy, so let's just go
ahead and just push it back in a little bit more. Like, I don't want it
to be too over the top. And let's make it gray,
duplicate, rotate. And then we can have
one that's over here. So this one we can just
scale in Like this. Yeah, let's push it out
quite a bit over here. And another one that is at the top. No, I do not like this. This one needs to be thinner, and we need to push this closer. These two will need
to be pushed back in. S, does that feel better? And I want this one to
be a little bit higher. And then this one also push
it like a little bit higher. Also, gole tick,
which I'm not doing yet right now because it's
annoying for you guys, but you can go to Window, view Boards and
select viewpod two. And this way you can create an additional viewboard
where if you set the camera, you can have this on
your second screen, and that allows you to basically easily move things around. Now the reason I'm not doing
it is because it slows down your computer up
because it needs to render everything twice. And, of course, for me, it means that I would do a lot of stuff that
you guys cannot see. And that would not be very nice. These ones, however,
although I'm going to make them a little bit thicker, I think for the rest, oh,
no, that's too thick. So I'm really picky, and I feel like I already had
to block out like I want to I'll often already be
a little bit picky just so that we can quickly
replicate everything. We can now go ahead and duplicate
this over to this side. Have one last look. Yeah, see, that feels white. Okay, awesome. Now we have these
ones over here. Basically, it's almost
like this. So let's see. It's like one of them,
which goes here. And what I'm going to
do is I'm going to make it thinner. Yeah. I want to make it also
thinner like this. I'm going to go to
my added podium. I'm going to select
the ends over here. And I'm actually going
to scale these out to make everything a
little bit longer. Do I want to do that? Yes, but then I want to kind
push this one back in. Same over here. So let's make it a
little bit longer. And then what we can do is
we can go ahead and select the end push it back in. These bits over here. I'm just going to
place straight. And when doing this, I realize that I am not
editing a duplicate, so I'm just going to cancel it, and I'm going to
actually duplicate this. There we go. Let me just pass the video and redo that stuff. Here we go. Okay, cool. Now I'm going to probably see push this one back in
because I don't want to have this stuff
extending too far out beyond that back pillar
over here that you see. Yeah, something like that
should work. Oh, okay. I want to make sure
that it aligns with our center pillar. And then basically what I
want to do is I want to push it in front of it a
little bit like this. And next stop is
just duplicating it. And for this piece, I'm just
going to one duplicate, go to my added poly, select only my faces, and just go ahead and delete everything but the
top or the end. And then, of course, go to pivot and let's just do a pivot on the I'm just going to set
it in the center over here. Okay. So we can go ahead
and we can grab this one. And if I have a
look, this one needs to come here, and this one, we actually want to make
it a little bit thinner again and push it up. And this one is more like
in the center over here, and we want to oh turn
on vertex select again. We want to push this
out a little bit. And we can now go ahead and just duplicate this over
to the other side. And at that point, it's just
a matter of having a look. Yeah, I think that
is pretty decent. So let's have one final look before we finish
off this chapter. So the heights and everything, we still need to
figure out based upon, of course, what
we have over here with these additional pieces. But in general, it is
looking pretty good. The only thing I
don't like is that this one might want to go, a little bit lower like that. Let's see, these
beams over here, they are pretty good. However, they do feel
like a little bit small, but it might just be
like when I actually just move my camera
a little bit closer, stuff like that, that
might resolve itself. Or what I am going to do is
I'm probably going to change my focal range to something
like it's now 35. Maybe to like something like 50. Yeah, here, see, I feel like now 50 starts to work
better in our favor. So we got that one. We got
our tick beam over here. We got those pieces. We got like a little ending. We
got our top piece. Yeah, I would say that
for now, this is fine. In the next chapter, what we'll
do is we will just, like, add that extra tiny
detail up here, and then we will
start working on, like, all of the side pieces. So let's go ahead and continue with this in our next chapter.
6. 06 Creating Our Blockout Part3: Okay. So what we're
going to do now is I'm just going to go ahead and create this extra
detail up here. And then I'm going to show you a fun little trick
that I like to use, which is that I often
like to simply use mega scan assets
if we have them, of course, if we
have them that fit. And basically, use those as part of the blockout
just to save some time. So let's go ahead
and go over here. And for this piece, all I need
to do is so like straight, round straight,
not too difficult. Square and like cube. Also, what you can do is you can turn off a line to normal, and then the cube will
just stay straight. I'm going to make it
like 30 by 30 by 30 over here and just place it over
here and accept. Let's see. So I'm going to move this up
until this point over here. I'm going to extend this out, probably something like this and move it sort
of in the center. And then it's just a matter of, like, going into my added poly. And let's see. Let's
move this here and let's go inset edge loops, even Let's add two loops. By this point, I expect that why kind of,
like, know the drill. So I'm not going to explain
everything too much anymore. At least not like the
really obvious stuff. So inset Etche loop, let's do, like, four maybe. And done. Except and
just have a look. Maybe I make it a bit wider. Then it's just a matter
of grabbing these four, moving them up, grabbing
these two, moving them up. Oh, I feel like I need
a little bit more, so let's make it a little
bit more drastic over here. And then it's also just a
matter of grabbing these and I'm going to just move them up a little bit more to
make them a bit bigger. Yeah, it's not the best one, but it's just like to indicate that there is
something going to be here. So if I add a gray, does it kind of
like indicate it? It does. I just feel
like I don't know. Um, I feel like maybe, like, pushing these ones
down just because I do want to make it
look a little bit nice. So yeah. Yeah, something like
that should work. And then you can grab, of course, like these
topies and we want to just go ahead and we want
to add an insert edge loop. Let's do proportional offset. And we want to add them in the end over here and over here. And then for these ones,
I'm just going to go ahead and I'm going to, let's see. Let's place one in the center and one on each side,
and just press done. And it's just a matter
of pretty much like grabbing things probably
easier if we grab the faces, actually, because right now we have quite a bit of
geometry going on. It's kind of like pushing
that. No, that's awkward. This one does not continue on. That's a little bit annoying. I also wonder why would do that. In that case, because I just don't really want to spend
too much time on it. What I will do is I will
grab these pieces over here, and I'm just going to go ahead and I'm going to push those in. There we go, just to indicate
that it goes a bit around. And then from a distance,
yeah, there we go. Okay. Awesome. So what
we're going to do now is we are just going to
go ahead and import some Megacan assets
that we can use, and it's mostly because
I happen to know that MgSan has a bunch
of Japanese assets. So let's just go
ahead and go up here, and this is already built
inside of Unreal engine five. So we can go up here and
go to our Quix Bridge. Of course, you want to
log in and everything, but all of the Mexican
assets are free. So we can go to Tweedy assets, and I'm just going to type in Japan over here.
And there we go. So now we get a bunch of
Tweedy assets from Japan. Now, most of these are not
really what I'm looking for, but this one over here, I can see that I even
already had it before. This one I think is quite good. So this is just like the roofs that we can temporarily use just to indicate where the
roofs are going to be. So I'm just going to
go ahead and add that. Now, there are some
walls over here, I can see I use,
but I'm not sure if I need those yet,
so let's leave those. This one over here that
looks like typical like that piece over here. That's actually
quite good. Let's go ahead and also add this one. I guess if you want
to save time later on you can literally just use the Mexican asset and
you don't have to create the things yourself, but I, of course, want to
just create it a little bit. I think for now
that's actually fine. I think those are the main ones. The roof was the main one
that I wanted to use. Now, let's go ahead
and go over here and then I can also
show you how to use it. So we have pretty much like
a flat area over here, and then we have another tick
beam sitting next to it. At least that's what
it looks like to me. So what I can do is I can grab
this tick beam over here, and I assume Yeah, I'm not completely sure yet where exactly this
beam would be, but it has to do
with, of course, extending out this
shape over here. So first of all, just go
ahead and create this one. I'm zooming in on my
reference over here. So for that one, let's go ahead and go back to
our modeling tools, and we can go box. And I'm going to make
the width like 200. I will change later
on. Don't worry. The depth is going
to be like 20 and the height is going to
be like try 250 maybe. Let's start with this. And now let's just define it
a little bit more. So I can age my camera settings. So let's have a look. So we
have this piece over here, and I want to kind
of, like, have it sitting near the
back like this. Now, in terms of the height, we can just simply have a look, and we can see
that this one ends about half a meter
to a meter below. This joint over here.
So I would say, it ends roughly over here, and then we will have our roof. Now, in terms of the width, it's up to us to decide that. If I go ahead and go yeah, actually, you know what
this looks quite logical. Yeah, this looks quite logical. So basically, I'm just
having a t because our additional piece
over here next to it, we have very limited
information, so we just need to
have a think about how that one will fit
next to everything. But I think if we just
have a beam like this one, and we want to kind of, like, let me just create like a I'm just creating
like a guide over here. If we just create
like a simple guide, which is just like a cube, that plays exactly on here, which allows me to
properly make sure that my beam and everything
is also aligned over here. And then I can also make sure that this one is
aligned. There we go. I think that is a
pretty good position, but we have to wait and see. So for this piece, what I'm going to do is
I'm just going to go ahead and go back
into my materials, and I'll take gray
material to this, and I'm going to go
into my poly it. And let's see. So I'm actually, I want to add a little
bit more detail. So what I will do is I will add one additional beam over here. I think that looks quite nice, and I can just skate
it down probably. Push it in a little bit more. Yeah, I feel like that
feels quite nice. So one here, and then I
guess it would make sense. As have one on the other side, just for proper symmetry. And now for this one, just move these things
a little bit back. And I'm going to have, let's see, insert edge loop. Let's start with
an even edge loop, start with like a single
one in the center. And then I want to have another one, or
sorry, another two. On this side, I'm just following my reference
bait, by the way. Done. Insert edge loop, proportional edit,
and let's see. Let's have one roughly
here and another one, roughly here. Yeah. Yeah. Okay, let's start
with this. I still feel like it's not high enough, but I guess we just
have to wait and see. So what I'm going to do now
is I'm just going to go ahead and add some
thickness to them. So I want one loop
here, one here. I guess it would make
sense to have one here. Here, here and here. And another one here and here. And now, if I just go
over my selection, I want to select let's see. No, sorry, I want to select
these ones over here. I want to select this one. I'm just looking
at my reference, so that's why I'm a bit slow. And then this will be
extended out also, actually. All of this can be selected. Pivot is a bit in the way, and this one will
also be extended. So if we go to Extrude,
we can push this in. Push back a little bit more. Oh, it looks a bit buggy, but I think that this
will work pretty well. Now what I'm going to
do is I'm just going to some wood blank details
or something like that, something very, very basic. And I can do that
simply by adding a start by just adding this box. And let's make it a little bit wider, a little bit thinner. Maybe give it like I quite like these type of wood
slates where it's like, slightly angled and
stuff like that. And just kind of like scaled up. I think maybe make
it a little bit wider. Oh, wait. You know what? I'm already going to add
my gray material because else when creating a lot of
duplicates, it's annoying. And let's just go ahead add these. Okay. And then what I can do is I
can just extend this one up, press dup to duplicate it, and then just grab one of the edges and just
push them back in. Hm here we go. And now it's just a
matter of selecting them. And this is something that I think I've not shown you yet. But you can also have a merge
function up here next to Dup which allows you to basically just merge them
all into one object, which makes them a
little bit easier to manage. Okay, cool. So we got this one done. Now what I'm going to do is I'm just going to go
ahead and I'm going to edit my mega scans
roof tiles over here. It's a bit annoying that
it does not generate your subtitles or
your thumbnails and looks like that it
also doesn't do it here. I can't remember. There was a function
where you can generate your subtitles, but subtitles, where you can generate
your thumbnails, but what I tend to do is I
tend to just quickly open them up because I need
to open them up anyway. The only difference is that
I do not need all of these. So this one I can use this one, this one, this one, but I don't really need
these pieces over here. Don't even know what this is, so let's just get rid of it. This one I can use, this one not, and this one. I basically just
want the big pieces. Then I'm just going
to go ahead and add a gray material to them. And then, basically we
can take it from there. So let's go ahead and just
add this this and here. And then you can just close, and if you just press save all, it will automatically
save all of them. So let's have a look. I want to have this
straight piece over here. That also has some
additional details. And basically what I'm going
to do is I'm just to kind of like this feels like quite
a good position, I guess. I'm just going to go ahead
and play around with it. So let's see if we have
two of them over here. At this point, what I do want
to do is I probably want to go ahead and create my
second viewpd over here. Just make it easier for me to quickly integrate or
change certain things. So I'm just going to move this viewpot over
to my other screen. And let's have a look. So we have these two pieces over here. I'm going to probably scale them in a little bit more just so
that they fit a bit better. The reason I make them gray because it is really
confusing when you are looking at the white scene and all of a sudden
you have one thing that is textured and I
never really like that, and maybe make them a
little bit thicker. I think that should do
the trick probably. Yeah, I will fix this sighting over here
a little bit later. Yeah, okay, I think this
should do the trick. I don't know if I even need to create something on
the back side for now. I'll just see if
that even shows. I mean, yeah, I guess it does show something a
little bit over here, but that's something
that maybe we will just go ahead and focus
on a little bit later. So we basically have this one that's
already looking good. Now, what I'm going to
do is I'm going to go back to my modding
mode, duplicate. And then for this one, for now, I'm probably going to
I don't know where. I probably want to, like,
extend this in, actually. I feel like it makes
more sense for me to have and I need to be a
little bit more precise, to have this file
under the beam. Of course, it doesn't have
to be absolutely perfect, but yeah, there we go. That makes a little
bit more sense. And now I'm, of course, looking on my other
screen in there. Over here, I can see that
it does kind of fit. So we got these ones. That's
already looking pretty good. Now, what I will do
is I will also go ahead and already
duplicate it over here. And let's first of all, go ahead and start with,
like, the right side, and then because left side, I want to do something a
little bit more special. And that's basically
like I don't want to use the same piece over and over
and over again too much. So that's why I often just, like, change things
up a little bit. So we have These
pieces over here. Let's go ahead and
duplicate that. And it looks like
that I am going well, I am going around the corner, but I need to probably, like, scale one up a little bit, because if I go ahead and
go, let's say, over here. So let's say that I
go around the corner, probably around here,
probably like this side. That means that for these ones, I just need to, like,
push this one in. And for now, I think I
can get away with scale. Yeah, here's. And if
I just scull this in, I could probably
get away with that. And what I'm going to
do, I'm just going to also grab this corda
piece over here. And I feel like it would
make sense to kind of, like, just have it neatly sitting
in place over here. Just give me 1 second.
I'm just trying to get in a nice position. Because it's not really working because if I scale one side, of course, the other
side also changes. But that should do the trick. So let's go ahead and also
grab these pieces over here. And now it's more like a guessing work because
if I grab one of these, I need to switch it over to
a corner piece over here. Hey, I know that the
corner piece doesn't look very good because
it goes upwards, but see if I just delete
that one and then move this, I don't know where. I'm just looking on my
other screen, by the way. That's why I reply a bit so. Actually, yeah, it
might actually work. So if I just push this one here and it can just
clip into each other, that is no problem for now. Uh, yeah, okay. That might work. Let's go ahead and rotate
another 190 degrees. Just go to scale
this up a little bit over here and push it in. And let's see how far I need to go because
I want to probably extend this one out
outside of the view. So if I just go ahead and
place like one, two, three, four, yeah, I feel like at
this point, along with, like, foliage and everything, it
will extend out onto the rest, so that should be fine. I do not really like that there's such a big
gap over here, but I don't think there's much we can
do because it's just like a blockout,
so that's fine. Okay, so let's go ahead and
also duplicate this one. Over here until it extends
outside of the view. Yeah, so that's a little
bit of the cheating. Like, of course, if you're
making game environment, you want to make this a lot
more logical in terms of, like, for gameplay purposes. But I'm showing you all the
techniques that you need, and literally the
only difference between the environment that we create and a environment
where you can actually play in is that
you would probably just, like, do the level art
of the entire thing, and we are just doing
the level art for, like, the pieces that we can
see, if that makes sense. So it's just like our way
of saving a little bit of additional time
because for me to make an entire gameplay vi it just takes so
long, to be honest. And it's not something that will really be beneficial
in the util. Yeah, let's just yeah for
good measure, I will do this. But at this point, as you can see, that's looking pretty nice, where it kind just goes outside of the view. So let's see. So we got those
shapes over here. I feel like I maybe move my camera more like up
trying to basically see. Like a good position, but it's a bit swicky to get like a good position
this early on. Okay. Yeah, let's do
something like this. So we got these sites over
here and also these walls. Over here on the inside, we will work on that later
on so that you can not just look through and see the sky because that never looks good, but that will also come when we do our folage and everything. I will say, because the left side is quite like a light side I will do
that in a new chapter. So the last thing that I
will probably do here is, although I also
feel like this one could probably be a little
bit wider, but I'm not sure. The last thing is I'm
going to balance out this last piece over here. And then I want to just use
that, what is it called? Like the little wooden
lamp. For the rest. So first of all, I have the urge to make
this a bit wider. It feels a little
bit, like, squashed, and I don't really
like that effect. So what I'm going to do is I'm just gonna go ahead and grab this and kind of just cheat
and just, like, scale it in. And let's see if that
looks any better. Let's move this one over
here and scale it a bit. Yeah, that does
feel better, right? I know that over here, it's a little bit wider than
this one, but I don't know, to me, that does feel a
little bit better having just a little bit of,
like, a bigger view. So let's leave that one at that. And I'm just going
to go ahead and I'm going to save machine. Now, quickly open up this Japanese lamp
and just switch out the material for a gray
material. Here we go. And now, for this one,
it's more a matter of using it and placing it and scaling it in
a way that looks logical. So if we have over here,
they are quite large. So we kind of want
to just see what will work best and which
scaling will work best. I feel like something like, maybe something like
this looks more logical. Now, we also need to
create something at the base before we can
actually do anything else. So let's go ahead
and create a box. Zoo 50 by 50 by 50. Yeah, let's just
place that here. And I'm just going to create whatever we can see
in the reference, which is pretty much just a, it's just like grabbing our box, manipulating it to fit the rest. And then I'm just going
to push this one down. I'm going to use my
scaling to kind of, like, give it bit of like an angle, and I'm going to also push the top in probably
a little bit. Why not? Nah, you know what? No, I don't like that. So, okay, so we now have a base. It's grim material. And I'm just basically playing
around while looking at my screen over here to make
sure that it is in, like, a pretty logical
position and not in, like, a really strange scale. I don't know. Maybe a
little bit smaller. Just trying to get a
good sense for it. Of course, later on when we think that we are done
with the environment, that's when I go in and
also just double check, making sure that the scaling is correct and all
that kind of stuff. I think for now this is fine. I'm just going to go
ahead and just to give it a little bit of extra detail, just like doing
inset on every area. Over here, I should be
able to just select all of them and then extrude and I want to make sure
that the sorry, the extrude direction
mode is set to our normal mode and
just push it in. There we go. Just to
give a little bit extra. Then just like in the concept, let's go ahead and
push this over here. Let's have a look.
That already looks. Yeah, I feel like it's
still missing something, but I don't know what it is. I feel like maybe, let's
delete this for that. Maybe if we just go to our pivot and set
this at the bottom, this one can go a
little bit lower. This one can push in, and then the tiretan can
be a little bit smaller. I feel like that sort of fits a bit better if we
go for something like that. Okay, cool. So we got this one. Now I want to go ahead and just very quickly because I
often like to do this whenever I finish like a part is that I'm just
going to go ahead and go in my large view over here. I'm just going to once again, play around and see if my field of view and
everything is working. So let's do 50. Let's see what it does with 40. No, I think I like
50. So let's go 50. And let's just try
and see if we can get a more interesting position. Maybe move it up a little
or closer a little bit. Yeah, I think something like
that looks quite nice and then maybe see if we
already can open the door. Later on, I will not do it now because then I get distracted
by the sky behind it. We got this, which
is pretty good. I'm going to shy and maybe move down here my top a
little bit more. And then I will just say,
like, this is the main view, but of course, we will
have additional view. So it's not like we
are missing out on that really nice top
detail later on. But doing this and I feel like
I'm just double checking. So just bear with me. I'm just looking a lot at
my reference over here and just checking to see if, like, maybe the doors are like, No, I want the doors
to be quite a bit higher than these
pieces over here. So the doors are correct.
These ones are correct. Like we have our WOW I feel like this is a
little bit too thick. So maybe just actually,
no, it's just these two. These two feel like
too thick. So that's maybe push those down a little bit more
over here. Let's see. We got that top
beam and then yeah, it is a bit of a shame that we cannot really see this one. So maybe I should
just kind of, like, push it down a
little bit more over here. Yeah, that works. So we got our rooftop
pieces here and here, and this one will extend out. Now, what you can also
do at this point is you can always already play
around a little bit more with your lighting
direction to see if you can get something interesting by going into the
directional light. And you can just,
like, over here, play around with,
like, the rotation. So here, let's see, so just adding a little
bit of extra shadow. And I can also set
my sauce angle, which will basically make my
shadows a little bit softer, but that will come
in just a bit. So I think that this
is pretty good. One last thing is
that right now, I feel like I get distracted by, like, the more higher
quality roofs here. So what I will do is just for
fun to end of this chapter. I'm going to grab, just a flat piece of roof
that I have over here. I'm just gonna kind of, like, place it in position instead of my snap rotation. Just
going to scale it up. And then I'm going to show you a fun little technique
that we can use. So if we just go ahead
and first of all, place these roof pieces here. So, of course, what you might guess is like these
are straight. Everything below it is bend. So what you can do
is if you go into your modeling tools,
you can, first of all, just merge these pieces together to turn them into a
brand new object, and then we can go into
our lattice or late latte. I don't know. I never
know how to pronounce it, but we can go in here
and set this one to two and maybe this one to
like let's see, not this one, X. Axis, yeah, X axis to three, which allows me to then
select these points and softly Oh, come on, select these points
and softly manipulate the roundness over
here to give it still that round effect like that. And there we go. Now
if we go back here, see, just like it fits
a little bit better. Even though it's a blockout,
I like to do that kind of stuff just to make
everything fit a bit better. So that is about it
for this chapter. In the next chapter, what we
will do is we will start by focusing on the left side area. And after that, I
think we only need one more chapter to focus
on the foliage and polish, and then we are pretty
much ready to go. So let's go ahead and continue with this in our next chapter.
7. 07 Creating Our Blockout Part4: Okay, so we are going
in the right direction. Now, what I want to do
this chapter is I want to start focusing over here
on the left hand side, and I want to kind of make this a little bit more special. So what I had in mind is that I really love
this image over here. This is one of my key images
that I want to use just to get the general vibe along
with this one over here. And I quite like the structure
that we have over here. So I want to create
something like that. Of course, without the stone, but we will improvise
a little bit. So my idea was that,
where are you? Sorry. My idea was that over here? Wait,
let me show you in. That because there's
like thickness, it's almost like a hallway that just ends in front of here. So it's just like a
place where people can walk around and stuff like that. And I kind of wanted
to use that as a storytelling along with
these shapes over here. So let's move this over here. Let's go outside of my camera
and let's get started. Now, I think the first
thing that's probably easiest is to define the roof. So what I'm going to
do is I'm going to duplicate my roof piece
and set it back to one or, sorry, one, one and one. And I'm going to turn
on my snap rotation. Let's figure this out. So with my roof, this feels like a really
tiny roof, to be honest. That's a bit annoying.
That's a bit tricky. Let's have a look. So if I have a
look at my concept because the roof is kind of like extending over the other one. So I'm just mostly doing
guessing work over here. So if I say, let's see, extend over on this side, let's go over here. Oh, that looks quite large. A little bit too large,
actually. Let's do 1.5. Set my scaling to lock, which means that
every time I say 1.5, it will just automatically
become that yeah, I think, I think
1.5 should be fine. So what we can do with this roof is now that we know
roughly the height of it, which is this, I can go ahead and I can start by
duplicating it. And I'm going to set my snapping to five because we should be able to snap the roof together,
at least a little bit. I'm then going to go ahead
and add one of these pieces and rotate 90. Snap over here. So I'm going to
basically, first of all, make the end because that feels like the most
logical thing for me. And if we were going to go ahead and
go for modular pieces, we probably want the ends
to just be as simple as being able to rotate
it once like this. Yeah, that should work. So, okay, cool. We
got those pieces. Now I just need to go ahead and also just for good measure, even though we probably
cannot even see it. I rotate this one and
place it over here, and there we go.
Awesome. Okay, cool. So I have this piece. Now, at this point, I can
already start deciding, like, how far out do I want
to extend this area? I probably want to just
extend out, not too far. So probably wherever we have this ending over
here with our stone. So let's start with this, and then of course, we
can later on edit it. So let me just duplicate
this a bit more. And for now, I'll just leave
it like this. Okay, awesome. So we are going to use over here these beams as like
a connection point. And as I said before, I want
to start pretty much like replicating the wood parts
that we have over here. So I'm going to get started by I can probably use this one. So let's go ahead and
just duplicate this. Let's also duplicate
it inside of our modeling tools, rotate it. And I'm going to because, of course, this is
where the ending is. I'm going to probably place
this beam next to it. So let me just turn off snapping and place it over
here, and let's see. So yeah, first of all, let's make it a
little bit thier. We don't want this to be like
such a hugely thick beam. Okay. Yeah, that seems to work. And now, in terms of, like, the length, I wouldn't want to go all the
way to the side. I would want to maybe have a little bit of space for
people to kind of wk. So maybe, stick with
this thickness. If we go roughly over here, that would feel a little
bit more logical. Okay, cool. We have this one. Now
what I'm going to do is I'm just going to build
things up, so we have this. Then I want and have
look over here again. I want to have like this
in between area over here, and I might want to
make then this one, a little bit smaller just
to add a bit of variation. So we have this one, and
then the next time we have another one is like, we need something to kind of, like, block the top. So let's have a look. This one, I'm going to go ahead and
make it a little bit thinner. Like that. And this
one What if I steal, here, what if I steal one of these just to measure
things and to place it. So I'm going to
steal one of these. So this one, I'm going
to go ahead and maybe, make a little bit thinner like this and just move
it on the roof. So it's going to be like one
of those typical structures where the roof is kind of like resting on
these pieces at the end. Then I would want to
go ahead and probably, like, say, place one here. And next would be having a beam. And I would want to have
this beam At this point, I'm just looking
around because I need to kind of, like, guess mostly. Of course, we will later on, look much more closely at these type of pieces to
make it more logical. But yeah, actually, over here, you can also
kind of see it. So if I go ahead and just
make this beam probably like thinner. Yeah,
let's do that. Let's make the beam thinner and make sure to duplicate
this piece over here. For now, I'm just going
to move it to the center, but you probably
guess that later on we will just mirror this. So we have this beam, and that one is a
little bit thinner. That's good. And then if we also just go ahead
and move it over here. And another thing is that we
would need to have a corner. I can use this one over here. We need to have a corner to, of course, close
everything off nicely. Yeah, that works.
Let's move it up. Yeah, actually,
that's pretty good. So the beam is pretty much
in front of this over here, and then it will have later
on maybe a few more segments. Yeah, I'm just going to
indicate that like this. So a few more segments, and
then we have a beam here, and then we want to
have a beam like every other place so let's say, another one over here,
and then later on, there will be also
another one here. But let's first finish this off so that we can just duplicate everything
at the same time. Now let's go ahead and select our roof pieces and nicely move these a
little bit forward. Yeah, it's probably
like this area. And this I'm just going
to kind of stick in here. There we go. Yeah, that
should work. Cool. Okay, now we can just kind of, like, build things up. So if we have this,
looks like that it would be beneficial to have
one additional beam in the center over here. And then for these ones, I'm just going to place
one in center here and one in the center over here. Then actually this
one, it would be more logical if this
one is also here. So I'm just trying to make
this a bit more even. There we go. Okay, cool. So we got those. We can just go ahead and
duplicate this one. Make it a little bit thinner and mostly just like scale it. Oh, sorry, now you want
to go ahead and turn off the locked scaling. I'm just going to
use this over here. And now over here, as you can see, you can actually
see through this. I also want to create it
that I can see through it, and then what I will do is
I will just go ahead and place some of those solid
walls that we created, these ones behind it. So knowing that, first of
all, what I need to do. So we have a beam there. I want to place another
beam that's like a separation type thing,
probably over here. I also want to create this
separation probably over here we go just a little
bit of additional details, and now it's just
a matter of maybe creating quick cube that's
like ten by ten by ten. Like this. Yeah, actually,
yeah, that works. That need quite a good ratio. I'm now going to
go ahead and I'm going to select these
corners over here, and I'm going to give them
a nice little bevel to give it some additional details. So something like that.
And just push this up. I think that will
work totally fine. If I just go ahead and
see, I'm just going to, like, not even bother
really measuring it. Just give it some open space. Actually, I want to give it a
little bit less open space. Yeah, I think that
will look cool. And then, of course,
the occlusion and all of the shadows
on the interior will take care of
it looking nice and dark so that you cannot really see any details
on the inside because, of course, we don't want to
spend too much time on that, but it will still
look quite good. I'm going to go ahead and
move these a little bit more, and I'm going to also go ahead
and then duplicate them. Oh, and here you can see
that. Yeah, it's a bit less. Let's height, delete this one, Control H to nhight. I am fine with it. I'm just thinking if I need
to merge them together. It might be handy if I go in and merge everything but one. So here, let's merge
these together, just because I know that we need to duplicate this probably
a bunch more times. Saves me some time selecting. Okay. Awesome. So Oh. Yeah, I already like that. That's already
looking pretty good. I'm going to now go. Let's go around
the corner first, and then we can
take it from there. So I guess it would make sense
if we go out the corner to have another piece sitting on, well, the corner over here. And I guess then this
one, this one, this one, this one, This one,
this one. This one. 90 Luke. Yeah, that works. I'm just going to
deselect this piece so that I can more easily
scale these over here. And I guess that now we probably want to go ahead
and make this. Let's see. It's up until there, so I don't know if I want
to make it this white. That feels too
white, to be honest. That is tricky, because I don't like if I just
go ahead and like, play around with the
width, let's see. It's going into our camerangle. To be honest, I don't want
to have it wider than this, because then I feel
like it just becomes such a bulky building and I want it to be like,
nice and subtle. So I can, here, see this also feels better if
I do it this way and have, like, a corner around it. So let's first place
this in position. And then I'm just going to
figure out what to do with the roof from there. So we have this one, this
one, and then we have, like, a It's gonna duplicate
all of these. Rotate at 90 degrees.
Okay, let's try again. So, sorry about that. And that feels, to be honest, it still feels too white to me. It it just looks like
too big of a building. I want it to be. And also, to be honest, it feels a
little bit short, actually. Yeah, so too white
and too short. Although the short one,
I'm not really sure. What I'm going to
do is I'm going to, let's make it one
white like that. Let's try that if
I just move this roughly over here
and have a look. Yes, that feels
already a bit better. So I really want to
make sure that I define this one well
with all of it. Like this is why we do the blockout just
because of the shapes, and you can see how
vital it is to do this because we just really need to think
about things and just see what we want to create. I'm just going to go ahead and
now have a look over here, and I feel like that, the walls are fine, but maybe we just want to scale up over here the roof a little bit. How does that look? Yeah, that looks better. That
looks already better. I'm going to now go ahead and see if I can make it kind of fit with our thinner design. So the first one is that we can. Oh wait, too bad. Unfortunately, because there
are different rotations, we cannot scale them as, like, one object over here. So let's see. Let's
first of all, extend them out a
little bit more. I think we can live with that. Now, it's a bit tricky, so yeah, this one
is really annoying. Although I believe, that
wouldn't work over here. I was just thinking about maybe
I can manipulate a pivot, but does not really work. Let's try something else. Have a look. Okay,
so this is fine. That seems to work, that
seems to work fine. Only thing is that
now, of course, these ones, we want
to kind of, like, extend them out a little
bit more over here. So let's instead try to
grab this one and do, like, a duplicate mesh, and
then add a mirror. And let's see if we can
kind of, like, Yeah, that might work a little
bit better if we just kind of try to mirror it like this. And then for these pieces, we might be able to
simply get away with scaling it a little
bit like this, let's have another look,
make sure it's fine. Yeah, see? I think we
can get away with that. So let's go ahead and
duplicate it 180. Move it over here. There we go. How does that look? That feels
like something is missing. And I'm just having
a think about it. Like, what could exactly
be missing around here? I feel like there's more space between there's too much space, almost between these
two pieces over here, and I feel like the roof is also now a little bit
like off center almost. Although that seems to be fine, like it doesn't feel off center. So let's first of all, try
and, I can select these also. Try and move this a little
bit back over here. It's a short part for
people to welcome. And now that I see this, I'm just really worried
to make it to tick. So I'm just like
having a look at my reference and
everything like that, also to make sure that
it sort of works. I'm going to make it a little just like
a tiny bit ticker. Let's do this. Over here. This one, I'm just
going to cheat a bit by just scaling it up. And on this piece, we can go to pivot and
set this to center. Yes, I think that looks better. That looks better.
So let's do this. And now for these pieces,
it's just a matter of, like, extending them
out a little bit, just so that they sort of fit. Okay. Awesome. So we
have these pieces. Now, over here at this site, what I want to do is I do
want to go ahead and create one of these because I have
a feeling that you should be able to see them
even from the back. Over here, we, of course,
have a slight mismatch, but that is no problem
at all when it comes to a blockout. So let's do something
like this over here. And now let's go ahead and steal this wall that we have here. And just kind of like place
it just to fill up this space and make sure that you cannot
look through it too much. I'm going to actually
merge these ones together. And then I'm going to set my
pivot point at the bottom, which makes it easier
for me to just kind of like scale this up. And like I said, you don't
really need to see this. It's not something
you will really see. It's just something to
hide, like the shape. And just in case you
can sort of see like the shapes, at least
you have something. See? So let's have another look. So we got that building. We got that roof that is
looking pretty good. I do feel like the roof I want to probably make it a little bit higher still because I feel like we lost that
what we just did. There we go. At this point, I'm also going
to go ahead and go into my second viewport
and just set this to my camera because it's really
difficult for me now to keep switching back and
forth for small changes. So let's have a look. We
got this piece over here. I honestly feel like
this one is actually extending out a
little bit too much. I'm not sure if
we can just scale it in and then push it back. Yes, that actually works. I'm looking on my other
screen, but, yes, that works. So we have the
construction of, like, the different wooden beams here, and then we have one beam that's kind of like running along here. If I now go ahead and
duplicate this stuff. And I guess I also
want to duplicate these to end pillars over here. I can now go ahead and just
quickly move this along. Of course, it doesn't again, have to be very precise
because you will not be able to see a lot of this. But what you can see is
that when I duplicate, you can see that
over here, it will add some additional details. So we are actually going to duplicate these
a little bit more. Because later on my idea was that there was
like a courtyard here. Like there's just
like an extra area that we can work with here. And that's what we
will also do to, like, block out those
behind the windows. So that's looking pretty
pretty decent, I think. Maybe just because I want
to work really neatly. Scale it down a little bit
more. And have a look. Okay, I like that.
Like, right now, like, Oh, God, didn't
mean to do it. It's not too beefy,
but it has, like, this nice closeup and has, like, this nice height
difference over here, which is looking pretty good. We also got those
additional beams over here, which is fine. That works. And I'm just going to have a look
at my reference over here. We might want to art
stuff like this later on, but for now, let's first focus
on the structural assets. So beam, flat sport beam. Yeah, we got those, and then
we have another beam over here in our real life version, there is quite a bit of
space in between here, but I guess that just
depends on how we make our ceiling. Okay? So I'm now just going
to run through. So we have our roof here, then this piece, then
we have our doors. Our doors can open and
close a little bit. We have top piece, we have this. Then we have this rotation
or this rounding, and this goes to the
top. Okay, cool. We then switch over to this side where we
have these details. There will be like some flags or something like that here, and this one switches over
also to the other side. That's also good. We have
our lamps over here, which are at a pretty
decent scaling. We have our stairs over here, and then over here, there will be some plants
and stuff like that. And this one, what I probably
want to do is I want to push this one in
a little bit more, just to add a little bit more symmetry,
something like that. And this one just extends
out, but you cannot see it. I think that is
looking pretty good. Double checking. Yeah, that
is looking pretty good. Now, what I'm going to
do is just to, like, quickly hide some of my arrows, I'm going to grab or I'm
going to create like some of these weird things over
here, like the lamps. Because what we can do is we
can use those to kind of, like, hide this area over here. I can go ahead and I can
do this by going into my moding tool and I want to grab probably like
a sphere, actually. Set the radius maybe to like
20? And then just accept. I'm going to make this a
little bit bigger to, like, the radius of my lamp and
it's just going to hang down. And my idea was to
then go to, like, my poly addi it and
then simply move this one like this because I just need to,
like, indicate what it is. Like, it doesn't have
to be special dl. So we got this one,
and I don't know, maybe let's go to the top. Let's do a nice little inset. Scale it a little bit
more. Extrude this out. There we go. And maybe grab a cylinder and turn off
a line to normal and set the radius to like
five or something over here except make it
quite a bit thinner. Push it in here, making
it a little bit thicker. And now we can just go ahead
and we can use this one. So here, see? That was
quite lucky accident. I just came up with
that, but it does work where it's kind
of just like hide stuff because in a blockout, it's just hide stuff.
It's always easier. The top one over
here in our concept, it looks like a
little bit bigger, so let's try and
maybe move that one, and I'm just looking
at my reference somewhere over here
and maybe scale down. So let's see. See?
So we can kind of, like, hide those problems. And we have that one,
and what I want to do with that one is I
probably want to go ahead and I want to push
it back with. Over here. Okay. Awesome. So I'm just doing one last check because
in the next chapter, if this is all looking good, I want to get started by
placing all of our foliage, which is going to be like that will change
everything a lot. So I'm quite excited for that. I'm going to go ahead
and I'm going to probably I'm probably going to grab these pieces over here. Mansak I'm just Is that everything? No, I'm still missing
this end piece, and I'm missing one
of the main pieces. Okay, that should do the trick. I'm going to go ahead and
duplicate this over here. I'm going to quickly
deselect the roof, and I want to just kind of like move this pretty
close into position. Actually, I'm not going to
scale it, something like this. And the only reason I'm
going to do that is because remember how is like I want to create a courtyard
type thing. Oh, say. Well, actually, that one I will just remove
because it's not needed. I'm just basically going
to place this behind here, and all it will do is it will block our view because one of the biggest mistakes I
often see students and beginner artists make is that they just don't
block the view. And you can actually
see the end of the map, and it looks really,
really ugly. So try to always block
out or block your view. Is what I'm doing
here, and I'm just basically now creating, just a little bit of, like, something behind here like that. That should already
be totally fine. And at this point, just to
keep things nice and clean. I can also go for 500 by 500 by ten and just place like
a simple cube over here. Let's make grayscale. And all this cube will
do is it will just like nicely create a floor just in case you
can somehow see it. Here we go. Okay, awesome.
So now, oh, wait. This one I don't like that. I guess I can it's probably
quicker if I just quickly select these additional pieces. Was that everything? Yes? Then just move it
forward instead of trying to, like,
select the rest. So let's try this. There we go. Yeah, that feels
like it would work. I'm going to even,
like, just do this. And I'm just going to delete this side because I
don't want to risk you being able to see that
kind of stuff over there. So that's just
something I'm going to scale down and
stuff like that. Okay. Let's have a look. Yeah, see? Yeah, that looks really nice like we
cannot see through it. So we got pretty much our
general structures done now. There still needs to be a
little bit of polishing done. So now let's go ahead and
start focusing more on the train and on the foliage and stuff in our next chapter.
8. 08 Creating Our Blockout Part5: Okay, so we now have a pretty solid grasp on the
structure of our environment, and I think it is
looking pretty cool. So what I want to focus
on now is I want to start focusing on just like
some blockout foliage. Now, the foliage is
actually really important, not just for the composition
because it takes up various amounts of space that we have left open
and empty right now. But also what it will do is
it will also interact with, of course, our lighting, using the shadows and
that kind of stuff. So we're going to
focus on our foliage, and then it's just going
to be a little bit of polishing probably here and there just to improve our
blockout a little bit more, and then we can
finally get started by actually creating the
final environment. So you would think like how
to do blockout foliage. Now, many people, what they can do is
they can literally just create a few spheres on like a cylinder and
then call it done. However, that would
not really represent the lighting and just like the overall
environment too well. So what I personally like
to do is I personally like to grab already
completed foliage, and then I like to just
turn it into a gray scale a little bit like
we did with over here, the Mexican assets. Speaking of mega scans,
that's the nice thing. So if we go ahead
and go over here, mega scans also has three packs. You cannot find
them in the bridge or like the actual mega scans, whatever it is called,
Pixel bridge over here. However, you can find them
on the Unreal marketplace. So if we go ahead and
go here, we can go to, for example, mega scan, sorry, mega scan three. And if I just type it in, you can see that
over here, there's a few different three bags. So we have the one, two, three, and 43 bags. Now, as you might
notice is that, yes, it does say that it's
like a European tree. However, in this case, it
doesn't matter too much. Like, trees can be everywhere. Like, it's up to you if you
want to really be super accurate and try to find trees that are growing
in Japan, all of that stuff. And I will have L, of course. So I will have look to
see if we can mimic the looks of the trees
that are often in Japan. However, with, of
course, a notice is that I live in Europe. So in terms of the texts and everything and getting
the reference, it would, of course,
become European trees. But that's just like a
small little detail. You can add it or you
can just leave it. Now, the one that I
quite like is this one over here because this
one feels the least. Well, it is still Europe, but I can remember
seeing this one often whenever I look at
pictures and videos of Japan, and they are quite
nice and high. So what you want to do is you pretty much want to go ahead and download this one because
it's completely free. I already download it
because I used it before. And then you can
say Art project. And then you can
just go ahead and select your in this case, JP Tito and press Art project. And then we'll simply
add it to your project. Now, the second one is
that next to the trees, we also have a lot
of these shrubs or bushes or
something like that. This one is a little bit
trickier because I personally do not know of a free pack
that has this specifically. I have a paid pack myself. So since it's just
going to be a blockout, I'm just going to use
my paid pack for this. And basically, here, it's like I will
show you which one it is. If we just go this
one. It's this one. It is really, really nice. So I'm just going to go ahead and I'm going
to use this one. Of course, these things, these trees and these shrubs, they will not be included into the project for two reasons. One, by the end of the project, we will have replaced them
with our own custom foliage. And two, there's copyright
on this because of course, it's a pay product or
it's just in general, a product from someone else. So I will be using this one. The Maui swaps and bushes, but it's just for the blockout. So you can just try and
find something online, or you can kind of just, like, create a few spheres
or something like leave it like that.
That is all up to you. So I'm just going to go ahead
and also add this one to my JP tutorial
project over here, and that is pretty much it. So once those are added, what we can do is
we can start by placing all of our foliage. Now, before placing it,
there is a little bit of tweaking that I want to do
to turn my foliage white. So it looks like it
has been placed. And let's start with the first one, which is
like the easiest one. We have our MW common, which is the pushes. If I just go one sec. If I go just over here, I can find my meshes. Then, Okay, that's
not the one, I guess. Oh, wait, so that's a common. I need this one over here, and then I want to go for
meshes and not foliage, in this case,
Bushes, there we go. So if I go ahead and,
like, drag this one in, you can see it will load in, and it will have all of these fancy textures and all
that kind of stuff. However, this is
not what we need, and it's also quite
dark, but that's something that you
would normally balance. Instead, what I like to do is, I like to click on my search
part to go to the material, open it up and find this base
column material over here. That is the one that I want. So I'm just going to
go ahead and grab both this one and just this one because
it's also in here. And I believe that
that's all I need. I'm cycling through
the texture folders. Yeah, that should be it. Now, all that I need to
do is I just need to go ahead and go down
to adjustments, set my saturation to zero, and my brightness quite bright to like two or
three or something. Maybe three. There we go. And I can do the same over here. Saturation to zero and my brightness to
something like three. That's a really easy way to very quickly turn
something white. And here I can see that
tree is not enough. So let's do like
ten. There we go. So let's just do
something like ten. And I just want to make it
like pretty much solid white. See? Nice at the Montana
and that works quite well. So that's it. That makes these assets already
quite a bit more easy. And I will go over, of course, how to paint them in
a little bit later because we are going to use
the foliage painting tool. So for these, what I like
to do is where are you? We Javi. So we don't want
to use all of these. I like to just go ahead
and open up the ones that I feel like we might need. So yeah, this one feels okay. This one is a little bit small, but and the reason I'm opening them up is just load them in. If you are importing an asset
for the very first time, you always want to go ahead
and open them up or just at least place them in your level so that they can be loaded in. If you don't do
this, where you want to start placing
all of your assets, you will need to
wait a really long time just for it to compute. But this is now all opened
up. Gonna save my scene. And the second one is
a little bit more of a trickier one because
the megascatrees, they have a little bit
more over the top, um materials and
stuff like that. So what I want to do here is
if I go to materials, sorry, let me just actually go to
Jumtre and we want to go for probably let's just go for, like, the simple wind one. That's probably the best one. And what I'm going to, I'm
just going to go ahead and drag in over here. You can see that as
soon as I drag it in, this one takes a whole
lot longer because it is a much more advanced
asset to place. So for this one, what I like to do is I just
like to quickly already go to my materials. Over here. Now, in these materials, the first thing
that I want to do, and this is just like
something that I just know from experience is to go
to the bido tin leaves, set these to white,
and then go down to your seasons and turn those off because those control
the colors of your leaves. If we don't turn those off, we cannot make our leaves white. And next we just go ahead
and go in here and open up two sided summer over here and set this
one to like five or ten and set saturation
down to zero. There we go. And
now they are white. And then we also
want to go ahead and just go into, like, a trunk. But it's not as easy as just changing this one
texture, unfortunately, because I can remember
that there are, like, multiple folders, or
was it just the trunks? Sorry, it can be that it's
just the trunks that are multiple folders. Yeah,
that might be it. I thought it was
like the leaves, where I have to go in for
every single texture, but it might just be
the case that it's not. Now, the thing is also
these textures over here, there are an eight K
resolution because that's how Mexican always
inputs everything. For our blockout, I
don't really mind, but we would, of course, never, ever make our trees with
eight K resolution textures, even if we have them at eight K, just because it would
be highly an optimized. Especially after we
do so much effort to optimize everything. So let's do this. And let's set the that's the maybe like three. But you can see that, because it is such a high resolution, making a change is a
little bit slower. So let's go here. Oh.
Whoops. There we go. Three. Three. And there we go. Okay, so next thing
that I'm going to do, although you can
see that over here, I still need to do something
like my bark, I believe. Let's have a look at the
tilable bark. This one. Let's go ahead saturation
zero and brightness three. Okay, it still has
some spots in here. I'm just going to
have a look because that's the last one that
I probably need to do. Yeah, here, this is probably the last one
that I need to do. Brightness tree. I know this
one is a little bit boring, but then it is done. Just wanted to walk you
through it because sometimes these larger packs that you download can be a
little bit overwhelming. So now we have a
nice white tree. Now, I'm just going
to delete it for now. I'm going to save my scene. Then what I'm going
to do just to easily load in all
of my assets in one go from the Mega scan trees. I'm just going to go to maps over here in the European beach, and I'm just going to go
ahead and open it up. And then what it will do is it will just go ahead
and take its time to, like, load in all
of our textures. Okay, it's done loading. And also, this is just
a lucky coincidence, but here you can
see the difference with the shaders that I edited, where I turn off those seasons setting and
stuff like that. And here you can see what
happens when you do not turn off the seasons setting
on this one over here. So you can see like there's
quite a big difference. But this one will work great
for, like, some blockouts. So what I'm going to do now
is I'm just going to go ahead because my computer
is also going crazy. I'm going to go ahead
and I'm going to open up my tiny little
scene now over here. And what I will do
is I will probably first start with the
shrubs over here. What I'd like to do is if we go just up here to selection mode, I like to use the foliage mode, and I know that the
shrubs over here have you can see over here they already
have a foliage mode. This mode will have the
settings automatically set. However, I know also
from experience with this one that if you use it, I believe that the painting, for some reason is
a little bit buggy. So if I just go ahead and see, I can double check,
it's activate. Okay, maybe it's not
that buggy. Let's see. Because sometimes it
is for some reason not able to paint on the twain or not able to paint
aesthetic meshes, even though they are selected. It looks like they
are fine this time. Now, what will also happen is probably the scaling
will be off. Oh, no, see? Yeah, yeah, bug. See, I can paint
sometimes on here, but I cannot paint
on my landscape. And it could just be
like some settings, but that's what is what
I was talking about. So what I'm going
to do instead is, I'm just going to go
ahead and remove those. And let's see, large,
medium, tall, large, medium. Okay, so those are
the ones I need. So if I go to my 1 second. Let me just move this over here. If I go to my meshes,
bushes, large, medium, and then
let's do one small, tall, large medium because
I just want to go for, like, quite large ones. And these ones are samplings. Let's do tall so small. Yeah, you know what? That
should be fine. Just use these. Just want to double check.
Oh, yeah, you know what? I can also use this
one over here. Okay. So the goal is just
that we have some that are at a decent size because
you can see over here, we just want to go
for the big strokes. We don't want to go for,
like, the tiny bits of foliage and stuff like that. Now, a cool thing in here is that you can set a
lot of settings. You can set well, actually, the settings that
we are most focused on is the distance or density, sorry, the scale, the
angle, and that's about it. And mobility, we want
to set the movable. Oh, no, sorry, it's not a light. Mobility can be set static. So what we can do with
the density is right now, if we paint it, you can
see that it's super, super dense, which
means that, like, a lot of pieces of foliage get placed into,
like, one small area. First of all, what we can
do is we can go up here to the pain density and
sent this one to 0.1, for example, and that
should already reduce it. But if that doesn't
reduce it enough, what you can do and
I'm just holding shift to remove them again, and I'm just doing a left
click to art them is I can set the density over here
to, for example, like 20. So this means that there's a
lower density per kilometer. So now you can see
that here or see, they paint a lot less, which makes things feel more
natural if we just want to do some quick painting
and stuff like that. I'm going to set
this probably to 30 because I do need it to
be a little bit dense. The next thing is our scaling. Right now, our scaling is
always going to be the same, but we want to have
some scaling variation. If we set this from 0.5 to one, it will randomly grab a
scale between 0.5 and one. So now you can see, all the differences in scale. I do feel, to be honest, that our largest scale is
a little bit too much. So let's say 0.8. There we go. That feels like a
more natural scaling for our specific environment. I'm also going to set my
density to probably like 25. And let's go ahead and get
rid of this once again. Now the last one that
you can use if you want is the random
pitch angle over here. And this one if I set it
to five, five, sorry, I will randomly rotate our bushes a little bit or our swaps a
little bit, you can see. So it's subtle, but it's just
like a nice extra detail. But we will go over
these settings much more in the near future. So at this point, what I'm going to do is I'm
going to add a new editor viewboard and have this
on my camera angle because it's really
important right now just properly
place our foliage. And we are going to get salt. So I mostly want to
focus around my foliage, as you can see over
here, a bit on the foreground over here. And then for the
rest, it's just like blocking using the
foliage to block off this harsh line that you can see over here
and that kind of stuff. Yeah, so that should be enough. So let's just go ahead
and move this over here. And then, of course, our trees. And let's have a look. So first of all, a class
and quite an easy one is that it would make sense
for foliage to grow here. So you can see that I'm
carefully clicking. And sometimes I just
like hold shift to get rid of one
if I don't like it. And I'm just looking for, like, let's see, over here, I want something a
bit larger here. So sometimes I just like, click. And then on my other screen, I'm just looking at,
like, what do I get? So I get quite an
interesting look, and then I feel like it would be nice if the
foliage kind of, like, Oh, not that one because I don't
want to block my view. But the foliage kind
of goes over here. And the same over here, we have some small ones
would be good here, and I also want to
improve my part, but that will come
in a bit. Let's see. So we are now blocking the part, but I feel like we're
blocking it too much. So but I don't know which
one it is. It's this one? I feel like it's
these ones over here that are kind of
blocking the part. So let's just try and go
for something a little bit I was saying a
little bit smaller. Uh, Yes. No, I don't do want to be quite specific already on like how large I
want things to be. Because based on that,
we can already place all of our additional details. I guess it would make
sense if over here, we make things a little
bit larger in this side. It's too large, too
large. There we go. Okay. And then what I can also often see is that over here, they also place our voyager. So I'm going to make,
like, some kind of, like, a garden type thing. It also creates our volgee. But right now, so I like
how I'm able to see, like, part of my wall over here. But over here, like I just
lost all of the details, and that's what I do not like. I want to be able to see, like, at least a little bit
of a wall. There we go. So now we can see, see,
I just want to, like, add some additional
details by giving away a little bit of our walls,
something like that. And we have, like,
some foliage here. And what I will do is I will
not place too much foliage, like, around the base. I might do, like, some grass
or something like that, but I feel like if I do that, yeah, it becomes
too overpowered. Over here, however, I
do want to have, like, quite a large piece of foliage. It's too small. I
want to place it in the right location. There we go. Like one large piece of foliage, surrounded by, like,
some smaller ones. Oh, smaller ones I said. And I'm just literally
just guessing when it becomes a smaller
one. There we go. So we have a little bit of
small foliage and then maybe, I don't know, over here, we could go for, like,
something smaller. I don't know if I like having
foliage here on the front. It just doesn't feel
right. So instead, let me just go ahead and
go here, so we go small. And also, of course, like
getting near the stairs, I want to keep my
foliage quite small, because it would make no sense
for it to be so large here if people are walking a
lot around these areas. Let's see, I think it would be nice to
have a large one here. Yeah, that would look nice. And then it's more like just placing them around
a little bit. Maybe have, like, another one
that's, like, quite large, that's going No, I
don't like that. I'm just trying to, like,
place around them in, like, an interesting area. And I'm also looking mostly on my other screen right
now. There we go. And then, of course,
when we have the trees, we will block off that
view over here a bit more. So having this, you
can also go in here. You can also see, if
you want to, like, place some fotos,
really carefully. Over here, you can also do that. So let's see. So we
have some footage here. We have some here. I think that is a
pretty solid base. Now, what I'm going to
do now is, so, yeah. Of course, now at this point, you can go in later
on and just, like, play some random foliage, just, like, go with the environment. But I need to be careful
because of my camera. Since it looks like that, I'm actually painting in front
of the camera angle. And the reason for that
is because our camera is, of course, really,
really far away. So it's very easy for us to accidentally block this angle. So that's up to you, of course, to decide how you want
to paint it and where? I'm just having one extra look. And I think yeah, I think
I can live with this. This is looking okay. So
now what I want to do is I want to go ahead and I
want to place my trees. You can place your trees
using the foliage painter, but I like to do it a
little bit more by hand. My goal for the
trees is two things. One, is that right now our lighting is really
boring because, like, there's no
interesting shadows. It's literally just like
sharp shadows over here. I want to use my trees
to, of course, create, like, a lot of this really nice looking lighting here and there. And two, it is used to
block off the backgrounds that we have over here to make the entire
environment feel much, much larger than it really is. Another thing that I
kind of want to do is I don't feel confident that I can block off
these areas over here using just trees. So what I'm going to
do is, I'm just going to quickly grab probably like a mega scale rock
and just like play some cliffs or something
there just to block it off. It's a classic one, like
blocking things off with rocks in a nature environment is always like really easy one. So you can choose cliffs. You can choose maybe, like, another structure in a distance, like something with walls. I'm just going to use a very simple one just
because I don't know. I'm lazy, I guess. So
let's just go ahead and go for um Rock, cliff. Okay. And no. This one I downloaded before. Let's do this one. This one
I also downloaded before. So let's just go
ahead and add this. It doesn't really matter because we got to
turn it's white, so it doesn't matter
which one it is. And then if you go
to MgcansT assets, and oh, wait, I already
went over that. And then once again, you
can just go ahead and go into your texture, saturation to zero and the
color maybe to like two. Now what we can do is we
can go ahead and just, like, let's see,
places over here. And from looking at
my other camera, I want to have this,
like, quite far away. Maybe something
like over here.'s make this one maybe
a little bit bigger. Because I want to just have
it like in the distance. And then we get
something like this. It doesn't feel that far
away, but of course, it is. But then this just in general, gives us a lot of depth. Of course, it also
becomes tricky because we are manipulating it. In real life, you
would just have, because of the depth of field, you would have so many trees
and information in there, it would look a lot denser. However, in return, in
real life, of course, everything is a lot sharper, so you wouldn't see it as that. Now let's go ahead and go
to our European beach. And let's go to R, and I know I pronounced
that incorrectly. I'm going to start
on the foreground, and I want to have something mostly for my lighting first. Oh, hey, I did that
by coincidence, oh, you guys can see
what I'm seeing. I quite like having the
tree a little bit here. So what I'm going to do is
I'm going to have that tree sitting like in the
corner over here just because it feels like
a really natural cut off. And also, I can see over here that we like my
lighting over here, that it is not really in the
most interesting position. So what I can do is I
can now at this point, just balance out my
lighting a little bit more, just to get the shadows to
mostly fall over the trees. Okay. I quite like that, you
can see over here. So, but it is still
feeling a little bit too, I don't know. Well, especially like the wind is also not really working. Well, it's at least it's not really helping,
to be honest. And the Biv painting one, those ones, do they have wind? Let me just check. No,
they do not have wind. So I might actually want
to use those in return. So let me just grab this
one and then replace it. And what I'm going to
do is I need to go into my material over
here and just set the albedo tins back and
also set the seasons off. That should already
do the trick. Because we already
change off the textures. That's a nice thing in changing textures
and not the rest. So we got this yeah, that's looking a
little bit better. I like to go to my
Where's my camera? Oh, sorry, my light. Yeah,
we go directional light. Let's have a look.
Wait, I'm just going to do it this way. There we go. I want to go ahead and
have a quick look at my source angle because
you can see that your source angle
now matters a lot. So I'm just going to go ahead and make that not as strong, maybe let's say one over here. Then we can also go
ahead and let's see. I don't want to light
cover the entire door. I feel like it's
always nice to have a bit of a split over here. Oh, God. I don't know
what I did there, but where is it? If this is my light, what I can do is I can
maybe move my light right in front of my camera over here. That makes it a
little bit easier for me to just care very carefully. Turn of snap rotation. Yeah, I quite like having
a little bit more sun. Let's have a look. Just like having it a little bit
more warmer would be nice. And I'm just playing
around with my light. So I feel like something like
this would look quite nice. And or is it too strong. And now let's have looked so my tree is sitting over here. So what I can do is I can
still use this tree as, like, a nice blockade on
the right hand side, and then maybe, like,
let's say, like, use this tree, and then
for this one, here, see. I'm using this to really
like block off my lighting. So I'm just almost like sculpting the
lighting with trees. That's pretty much
how you can see it. Let's see. This one I want to go for so something like this. And then the next one.
I'm just having a Like, I want to place maybe this one. I want to twin and, like, get some really nice shadows still on this part of the and I'm surprised that
my camera doesn't see it. I guess it goes straight
exactly through it. You guys can see it, but yeah, it's really difficult for
me to, like, balance out. I'm just trying to
get some shadows on this area over here. That's basically it.
So I'm just trying to, like, scale my tree, place it around, move it around. And let's see. So now we
have something like this. I like it feels really
natural on this side. It feels really
natural on this side. And I feel like we are
missing something over here because we don't need to have the tree
shadows everywhere. It's nice to have some calm in between all of the shadows. So over here, these
are not very calm and these are not very calm, so
it's nice to have something, but I still feel like here on the ground and here we could use a little bit
more of the tree. So let's see if we can grab, I can see here that I need
to change my material also. Let's see. Let's use this one. Over here on the ground because you can see
that over here, it works quite well
on the ground. And then the last one, I think it needs to be
quite a large one for me to be able to move it there. So let's see. How is
something like that? Let's press H to hide it. Unhide. Hide it, unhide. It is making too many shadows. Let's try something like with
a lot less leaves, maybe. Maybe this one over here. Yeah, that is tricky, actually. That is a tricky one. Where
do I want to place this? Um. Wait, something
like that would work. We'll see. Height, just by pressing H and
then contra H anhid. So see height, nhight. I think that will work. I think for the
blockout, of course, because I like spending a lot of time on just the blockout,
but I think that will work. I'm just going to
go ahead and add a little bit more
shadows on the rooftops. And then what we can do is we can just fill in the background. So shadows on the rooftops, they will also be visible. So what I like to do is
probably, let's see. Let's grab one, three here, and this makes a bit smaller. I want this to be literally
visible in my view. Let's makes it bigger. Okay. And then I'm
also going to go ahead and place another one
that's quite close to it. Maybe over here and
another one that Well, let's see, another one
that we will place. I don't know where
we will place it. Maybe differently. Just like something in the back. So, yeah, I'm really
able to, like, place everything
quite perfectly, just the way I want it. I do feel like that over
here like this front tree. It is a little bit
too in the front. So let me just try and
push it back a little bit. Do something like this. Then I feel like we do need, like, another tree or
something later on, that's, like, smaller
in the background, but I don't know what yet. And yes, we also have, like, the palm that I
want a tree that, like, boosts up the
shadows on the top. This one is pretty good. Here we go, see?
Height. Nhight. I think that one looks pretty good. Okay, cool. So we got that
one over here also done. Now, what I'm going to do
is I'm now just going to go ahead and place a bunch of trees that are more in,
like, the background. So let's start by just
placing some stuff over here. And you cannot see
it, but you can see that I'm just filling in the background
and stuff like that. And I will have look. Now,
what you don't want to do is you don't want to have
trees literally everywhere. Try to have some gaps. You can see also over
here that there is like one sec over here
where you can see, like there are some peaceful
gaps between trees. And this is really
good for composition because whenever you are
looking at the artwork, your eyes don't get overwhelmed
by these small details. But instead, you will
see some small details. Then you will have, like,
some relaxing to your eyes, and then you will have
more small details on top. So what I'm going to
do is I'm going to go ahead and sometimes leave out some of the
details. It's a wi big one. I actually don't really
like these type of trees. Oh, so I have a
bug. There we go. Sometimes I have a bug that my keyboard does not registrate
and then all of a sudden, my camera starts flying
out. So let's see. This one is going to be here. And then I guess I want to have another one that's going to be here, let's make it a bit. Okay, that's quite nice. I will have another one
that's going to be. And yes, I will fix the
materials later on. Maybe here. And I also
want to have, like, some foliage pieces which are like around the cliffs. Okay, let's see
what we have now. So we got some foreground
pieces over here. I feel like that we
see too many just like stalks and not enough
leaves in these areas. So I quite like the
foreground over here. Maybe I will have, like,
a little bit more. What I can also do is I can also go in my foliage
mode and kind of, like, just paint on these cliffs almost as if
to indicate that there's, like, ground behind it. I think that will also
work well. Here we go. And now I want to go
ahead and let's see let's place one more, and I'm just going to basically push it down because I need to create more depth that we have more foliage
around those trees. There we go. Okay,
that works well. She can see look past
the orange or the pink. I will remove the tomb, but now you can see here, it feels a little bit more that there's a little
bit more depth. Now, I'm fine with this
one over here at the top, which is, I believe,
this piece over here. It's kind of scaled up and down just to make sure that
I'm fine with it. Maybe rotate it a bit. Something like that. Okay. And then we have
this one over here, which I'm also fine with. Maybe give him a friend. Okay, that's a
really small friend. Let's try something
that is just behind it. And it's nice that when we place our trees now,
we already know, like, roughly where to
place in the near future. Uh, I like it, but I feel like it needs to go a bit further
back, maybe. Okay. So I would call this area over here
already pretty much done. Now in this area, I
feel like there's just like needs to
be a little bit of more leaves on the
bottom end on this side. And for that, I can
probably cut this one. And maybe change the tree
just for good measure. Rotate it a bit, and
let's move it down a bit. Oh, God. I accidentally
moved my camera. Luckily, we now have, like, a pretty good frame
of reference. I think that the good angle? Yeah, I think that's
a good angle, so I'm just going
to very quickly, already go into my camera. I'm just going to right
click Transform and lock it. But I think we have something pretty solid
looking right now. Yeah, we got some trees. We got some areas where it's
a bit calm also in here. Maybe have one more behind
over here these empty spaces, and then I think we
are ready to go. I'm just going to do one
more and I'm going to have I don't know,
something simple. And just move it, bind
here. There we go. Awesome. Okay, so just to
turn these trees white. I want to go ahead and here. I knew that we had,
like, these folders. Remember how I was telling you, like, we will need to
change a lot of materials? Told you, turns out that because I used to one with like the wind, which is
not the one I want. But I can just go in
here, quickly set the albedo tint to white and
then turn off the seasons. So it will take a second.
But it should be fine, white, and turn off the seasons. Because, yeah, it's a really
cool and complicated shader, but we just want
something really easy, so we are just kind, kind
of, like, hacking it a bit. And the last one over here. Okay. Gonna save my scene. Make my window a bit bigger.
And let's have a look. So if I just plus G
to go into game mode. You know what I'm
even going to, like, open up the door a
little bit over here? Yeah, that already
makes a big difference. I think that is
looking pretty cool. What I will do in my next
chapter is I will just do, like, some final
polishing of a blockout. But I think that
now, as you can see, you can already get
a really good sense of what our enviement
is going to look like, just like in broader strokes. Just go to play around
a bit more with my source angle because
here you can see, you can make it
really sharp, but I always like it to be,
like, a bit softer. So let's to 0.7 over here. But I'm quite happy with it. Like, we did not copy
the concept one on one, but we just made it our own, and we got something really
interesting out of it. So next chapter, we will do
some polish, and after that, we can finally get
started by actually turning this entire environment
into, like, final pieces.
9. 09 Creating Our Blockout Part6: Okay, so let's go ahead
and finalize our blockout. Now, the first thing
that I want to do is, whoa, my camera is really fast. The first thing I want to do is I want to go ahead and, like, improve just like in general, over here this part. So I had, like,
an idea of, like, a natural stone type part, so let's just go ahead and
find some reference for that. So if you just go
to Google Images, I just went for, like, a large natural stone part, and I just need to kind
of like, know the shapes. So it is up to you, like, what to find and I don't know. Is this one working? Because it doesn't feel
like the image is working. Um, yeah, you know what
this can already work. Let's have a quick look if
there's something else. I just want to basically
know the shapes that I can model them. Japan. Who knows? Maybe that will do
something. Okay. I think you know what, because it doesn't need to
be that special. I'm just going to go
ahead and use this one. And basically what
I will do is say, we'll go ahead and
use the spline tools inside of our modding tools to just draw out a few of these shapes and then we
can take it from there. So let's go back into
our modeling tools. And then over here, if you
go for the Poli extra tool, that one is really easy to
Okay, that was confusing. That one is really easy to basically draw out some shapes. I'm just going to
do it here because this grid is a bit confusing. So you can just go ahead and go for I think free hands was fine. If you then just click once, you can see that this will
just draw out the line. So what I can do is I can
kind of like, Oh, wait. Let me just know that because I want
to turn off snapping. Enable snapping,
let's turn it off. Now I'm just going
to basically draw out generally these shapes. It doesn't need to be perfect. I just need some general
shapes that I can use. Let's go ahead and just do this. Then I sometimes click
multiple times just to make something feel more
rounder like over here. And then you can see that this is working totally
fine over here. And then it will
also extrude it out, as you can see by moving
it up. And there we go. So I can also see that now the grid has a bit is
a bit confused because it is trying to paint it on
the zero axis over here. And, of course, we set this to 100 because it was a train, so just keep that in mind. But we can now go to Apley it and we can just kind of push this down over here. And actually, what I
want to do is this one. Going to move it out a
bit. There we go, see. Simple shape. So
basically what we can do with this is
we can go ahead and go back to Apollon extrude. Now, in terms of the snapping, so if we turn on
the snapping and maybe we only press
snap to surface, it might be able to
snap it properly, but we will have
to kind of, like, see Now, here I see, it still does not,
unfortunately. And I guess setting the offset to 100
would also not work. Now, it would just be confusing. That's no problem. Like,
it's not that big of a deal. Let's just turn off snapping. And instead, let's just
go ahead and just go in here and start
painting our next one. So I just did this one. Now, let's go ahead and do this one and just
do, like, a few. So let's see. This one
kind of goes like this. It's really confusing
now, actually, because normally I don't do this normally I do
this at, like, zero, zero, zero because I don't
actually often use it terrain. That's what makes this
a little bit confusing. But it should be fine. It's more like one of
those things like, yes, you can go in and fix them. But is it really worth
your effort to fix them? Like, I can go in, I can hide my train. I
can emplace them. I can then unhide my train, all that stuff. Or
I can just do this. And what I also like to is,
I like to give them, like, slightly different
thicknesses over here. I just feel like that
would look quite nice if we add some variation to that. Now, next one, I'm just
going to also already, do like a classic one, which I'm for which I do not
have any reference. But it's just going
to be a bit of a round shape over
here. There we go. Then I want to do
probably one or two more. So let's just go ahead
and do the next one which goes like this, and then it goes
up and down a bit. And something like this.
Okay. And let's do one more. But I feel like let's
see if there's maybe, like, let's just
do one of those. So just once again,
like, looking at my reference on
my other screen. I don't want to make too many. I just want to reuse
them because, of course, these ones we will need
to make by hand later on. So that's why I
don't want to spend too much time because it's not such an important feature
of our environment. Hey, why don't you?
Why do you nuts work? That was strange. Let's
try again. I did not. Now it works. Okay.
Awesome. So we got these. I'm just going to
set them all to 100 and then go into my poly add it and
then push them down. Over here. This one, also 100. Poly add it. Push it down. 100 and let's push it down. There we go. That
should do the trick. Okay, cool. Now,
let's have a look. First of all, what
I will do with these is the classic thing, which is adding a white
material to them over here. And it's just like a matter of basically just place them
around however you want. So let's see if I
just do, like, one, like, over here, and
maybe like another one. So of course, make it so that people can
pretty much like, walk on it, but they
don't have to walk on it, like, absolutely perfectly
or something like that. So I'm just going
to go for maybe, like, let's say
something like this. I'm going to scale
this one down a bit and rotate this
one over here. Also, one thing
that I like to do sometimes whenever I
make parts like this. If you just give me 1 second, let me just finish placing
this one because I think at this point we are
outside of the camera anyway, is to sometimes create another one that's like
ticker and have it kind of sitting on the top, kind of like cutting pieces
off, something like this. But I don't know if
it will look good. It's literally just
going to have to see. So if I just do this, but
maybe not at the very end, maybe, let's make it
a little bit thinner. Let's just kind of
like over here, start cutting off
some of these shapes. I will grab this one and I
will move it distraction. And I will also make it a
little bit thicker over here. And I think something
like this is fine. You can, of course,
just keep continuing until you have a longer part. It just depends what you want. So let me just finish
things off with this one. And then last thing, just a little bit of
additional flavor is I'm just going to make there a little bit angled. And then I just scale
them up bit and I'm pushing down again a bit. Just because these parts, I feel like just to gamify
them a little bit. Of course, in real life,
unless they are very old, they would be quite
perfectly placed. But these are very
old, so we can, like art a little bit of
additional storytelling just by, like, angling them
and pushing them in. There we go. See? And let's have look in our cameraangle. I
think that that looks fine. Like, that gives us
a nice bit of stone, but we can still see, like, a little bit of the
ground below it. So we can still work on that. I'm at this point,
going to go ahead and probably get rid of
my scale references. And now what I want
to do is before I'm going to basically have a look at my concept and see if there's any final
things that I want to art, just big things, I first of all, want to go ahead and
just add the post effect just to add some additional
effects to my scene. So if we go down here
to visual effects and add a post process volume. Now, with a post process volume, it's basically going to
add effects on top of your camera after everything has already been rendered.
That's why it's called post. Now with this, you can imagine
things like color grading, exposures, some lumen
settings, stuff like that. But the first thing
that we want to do when we create it is scroll down all the way turn
an infinite extent. This means that
the post effect is always active no matter
where that you are because you can also
make it so that the post effect is only
active in certain areas. Now I'm going to go to
exposure and turn on my exposure compensation,
min and max. And whenever I
create the blockout, I always like to go ahead and
set this to zero and zero. And the reason for this is
because if we don't do that, just to very quickly show you, the exposure will be based on how dark the AR rodeo camera. So if I go like
this, you can see that over here,
it's not very dark. And then as soon as I
quickly go outside, you can see that the outside
is really light, see? It's because it tries to mimic the same effect that we have
with our eyes in real life. However, for a blockout,
I want full control. So I'm going to set
this to zero and zero, and then I can use my
exposure compensation to, for example, settings a
little bit darker, like 0.8. For your bloom, you can
also control your bloom. I like to set this
to convolution, which is not a real
time bloom effect, but it's like a
will agrot effect. Basically, you have the standard
one, which is for games, which will just
basically give you a bloom on anything
that is bright. However, the convolution one, it actually calculates based upon your lighting
and brightness, it calculates the logical amount of bloom. So you can
see that over here. It only adds this bloom very softly on the areas
that are truly bright. However, as I said before, this is a little bit
more expensive to use. So you can literally see it. It says too expensive for games. So it's not something for games, but it is something for,
like, a final render. Image effects, you can find
the vignetting settings, but I'm happy with
what I got now. And over here we have
some color grading. I guess the only thing
that I want to do in color grading is maybe in the global contrast to set
my contrast a bit sharper. Let's do 1.15 over here. And in my shadows, I like to go to my
Gamma. And let's see. Sometimes I like to often
make my shadows actually like a little bit
bluer, just a tiny bit, just to kind of, like, catch the blueness of the sky because shadows are
never completely black. They always have a little
bit of blue in them. And then maybe what I
will do is I will go to by Global, and
just in my gamma, I will slightly alter here, the look of the
scene just for now, just so that we have something
fancy to look at just for fun over here by giving
it a little bit more red. And I feel like this
looks a bit better. Maybe let's say 1.2
for the contrast. Now, let's do 1.15. Okay, so we got that one. And of course, later
on we are going to redo all of our lighting
and all of that stuff. So 0.75 maybe for the exposure. And the last thing
is that over here, you also have some global
ilmation settings. Now, what you can do
is you can already set the lumen scene lighting to, like, a higher value. And what this will do is it will improve the quality
of your lumen. However, I like to always, have a look and see if it
even makes a difference. In a blockout scene, it will never really
make a difference. Over here, I'm just
going to go ahead and the lumar reflections, turn on the high quality
translucent surfaces already. What this will do
is it will improve reflections whenever we have
a transparent material. Of course, right now, we don't really have a
transparent material, but it's good to
already turn on. And for the rest,
that should be fine. We're not going to go ahead and make heavy use of
rate racing just yet, I would say, probably not. So let's go ahead and leave it like this for our
blockout for now. And then the rate raising
stuff and everything, we will dive into
that when we actually start doing the final lighting. I would say that for now, this is pretty much fine.
Like this is all we need. Last thing that you
can art if you want, is you can add some film grain
and with your film grain, although, yeah, yeah,
this is the correct one. With a film grain, you can
add a little bit more like a cinematic feeling by giving
it a little bit of grain. I said it's will strong, you can see like we can make it
look like an old movie. So what we can do is we
can go ahead and just set this for now, quite simple. Maybe like 0.25. And you can also
go ahead and set the grain textile size to have bigger grains
or smaller ones. So if I set this
probably back to one, I think just in general,
like this feels quite nice. You can see that Lumen does have a little bit of
problems with, like, the shadows right now, but that's something
that we can also go ahead and fix later on. So let's see, 0.25. If I go just to zero, yeah, see? Yeah, it adds. Maybe 0.3. It does add like
a little bit of extra to it. I'm going to go at
the save machine. And one last thing that I want to probably add
one or two last things, is one of them is a flag,
as I can see over here. This is something I
can see quite obvious. Here you can see, like, a
nice neat little scene. So we actually made
it look pretty nice. Of course, there's
nothing around it, but it is pretty good. Let's go into our mole tools, and let's just create
this flag very simple. Let's set the radius to five. Actually, set the
radius to like three. And the flag 200. Let's make it 250 for the pole
over here and just accept. Next, all I want to do is
I just want to go ahead and duplicate this and I go ahead and
slightly rotate it. I'm just following
my concept art. You can look at the concept art what this exactly looks like. Then the next one is just
going to let's just make a simple rectangle over here and just place
it right down. I'm going to turn on
my snap rotations. I'm going to go ahead and move this here just to mimic the look of a flag. And it's look. Yeah,
totally fine for blockout. I am going to go ahead and
just select all of these, and I'm going to press a
mash merge and press Accept, throw on a gray material, and go to the pivot and just set the pivot at the
bottom over here. And let's see. So I will have one here and I'm going to have another
one probably like here because there's a lot of
empty space in this area. So let's say the
next one over here. And I can have L. Someone there. I feel like maybe it's going
to be a little bit bigger. I know that those flags
are quite big like this, but just makes sense.
And I don't know. Do we need, like, a flag
somewhere in this area or maybe, like, have it rotated? Nah, I'm just gonna
leave it for now. Okay, cool. I think we pretty much covered
everything from our concept. We have. Of course, we have some small details like up here, but we are not going to
do that in a blockout. I'm just gonna go ahead and have an extra look around all of my reference
to see if there's anything like maybe we
want to have some type of things over here just to make it a little bit
more visually interesting. But if we do these
type of things, they would be like
bonus material. I'm not going to go on how to create very small details like that after everything else because then this tutorial
would just be way too long. But yeah, all of the metal stuff and everything that
we will add later. I think for now, we
have enough details. I think the only thing that
I want to artist I quite like. Let me just check. I think the only thing I want to artist because I quite like it is the bamboo
holder type thing. Let's go ahead and finalize that and then we are
done with our lockout. I'm just going to
have that over here. Maybe it would be nice to push this one a bit
forward over here. Like this, just to
give some space or we need to push it
way forward in order to really get the
correct effect. Yeah, I feel like I
need to probably push it quite a bit forward and
then move this one back. And then what I'm going to do is I'm just going
to go ahead and add an additional beam here. There we go. It's just that I have a place for
these metal brackets. So metal brackets. Just go ahead and create a cube. I'm going to make this super
simple. So let's push it in. Make it thinner. We're
going to place quite low, so let's place this
somewhere over here. Let's start the gray material. Let's go ahead and go at it poi I'm just
gonna select this. I'm going to insert inset. But can the There we go. Oh, let's save my seem because I feel like something was
a little bit buggy. Let's try it again. Okay. So yeah, make sure to
keep saving your scene. I do have outer saving on, but still, I don't
trust it completely. I'm going to have this
a little bit higher. And then I'm basically just going to go ahead
and extrude this. Then I will extrude
this once more. And then just pick the top and extrude this one once more. There we go. That should
give me enough of a bracket. Oh, and this is way too thick, so let me just go ahead and
make this quite a bit thier. And let's also
make this a little bit lower because it's
a bit too over the top. Well, there we go. Awesome.
So we have these brackets. I can now go ahead
and just duplicate it and place another one here. And then, of course,
for our bamboo, I'm going to quickly
grab like a cylinder, make it like seven, maybe. Yeah, seven looks like
a nice thickness. Let's move it over here and
place it into position. Add a poly, the end. Move that over here. Are we
able to play some edge loops? I don't think so because of
the way that this is created. There is a way that we
can add edge loops by recreating or re adding
our groups and everything, but it's not really
worth my time. So what I will do instead
is I will just, like, place two of them here and
apply a white material. Yeah, I think that will add like some nice additional details. I'm just gonna lower it a
little bit, but for the rest. About done. So let's do this. And let's have a look at our final blockout over
here. Okay, awesome. Now, as you can see, we spent quite a bit of
time on the blockout, but I hope that you can
understand how important it is to create blockout because else if we had to figure
out all of this, while also creating
final models, we would have probably
done a lot of wasted work or a lot of additional work
that just was not needed. While now we already have
a sense of a blockout. We already get that
exciting feeling of creating a cool environment. Like we already know roughly
what we're going to create. And I think that this is
a really solid start. So I would say that this was the end of the blockout stages. And let's go ahead
and continue on to the next chapters where I
will also explain to you exactly which steps we
are going to take to turn this environment into
the final environment.
10. 10 Creating Our Wood Material Part1: Okay, so now at the
blockout here is done. The next thing that we're
going to do is we need to decide what the next
step is going to be. So you can take this in
a few different forms. Now, you could go ahead and get started creating
the final models and all of these
sculpts and everything, or you could go ahead and get started and create the textures. What I'm going to do is
because this environment so heavily relies on a
few tilable materials, I want to go ahead and create
these materials first. This is also because since
we are using nanite, we can actually use
displacement on our materials. So, for example, we can use displacement on this wild
material and stuff like that. And also, I'm not completely sure yet how intense our
wood is going to be, and I might based on that change my sculpting
and stuff like that. In this specific case, it's
just easier for me to have my materials ready to go and then create all
of the final models. Now, I went ahead and I created a text folder over
here in our source files, and I created this text file, which is just called
texture list. Now if I go ahead and
open this one up, I already went ahead and I already decided
which materials I want to create as tlable materials.
That's the key goal. Now a wood material is quite obvious because we
have a lot of wood. So I want to create a
really good wood material. The ceramic roof material
is going to be a little bit easier because as
you can see over here, it doesn't have
that much detail. It has some interesting detail, but it's just going to be
some base ceramic material, which we can then use in
substance paint along with our other grinches and notes and all of that stuff
to create a unique texture. Then we have our stone material and our stonewall material. The stone material will be used for things like the stairs
and stuff like that, and the stone wall material will be used for the sites over here. Now, one thing that you should keep in mind
and that's more like, because I already know how I'm going to create
the environment, is that we are going to create a very special shader
that I spoke to you, I believe in the
very first chapter. And with this shader, we can basically push the resolution of our measures in a way without adding
too much extra expense. What I mean with this
is that we will be creating more unique textures. So for example, if we have the roof pieces,
the roof pieces, we will actually create
a unique texture instead of just using
a til boom material. So in the old techniques, I would use a til boom
material, and then I would use, like, a mask or something
like that to improve it. In the new technique, I am going to use a unique texture to
literally completely uniquely texture our roof pieces or texture our wood pieces, all that kind of stuff to
really push the quality, get the highest
amount of quality. And then I will
use special shader or material techniques to still have that texture look high resolution,
even though, of course, having a unique
texture on very large objects, like you can see over
here, you would never be able to push in
enough resolution. Or you can imagine like this. These textures will have a unique base color
and normal map. And for example,
all of the roofs combined will only be like a 1024 texture or maybe if you want to push
it like a 2048 texture, one base color and
normal 2048 texture. And then we will
have a shader that will manipulate that texture to make it look
higher resolution. I know that my times
a bit difficult. To be honest, just bear with me. You just need to see
it to believe it. However, for that, before I
can create that material, it's good to just have already some proper materials
ready to go. Now, that was a way
too long intro. But basically, what we're
going to do now is we are going to go ahead and get
started with the first one, which is going to be
our wood material. For that, I'm going to mostly
create a wood material that looks like
the one over here because I really like
this type of wood. And I'm going to combine
that with just like some general wood
that I can see over here in terms of, like,
how the grains look. Maybe like some nice whitening
and stuff like that, darkening, get some
interesting effects on it. And I will also be
looking like over here. Of course, this one
is painted red. So take it with a grain of salt. But, I will be looking around in all of these images just to see how that the wood looks, what we can do over here, there's another nice
one, what we can do to make it more interesting,
stuff like that. We will create this wood using abs and Ziner in
a procedural way. This will also allow us to
have both soft clean wood. And then with very
small changes, we can instantly
also turn this into some more rougher
wood, where are you? Like you can see
over here with these really thick lines
and stuff like that. Now, let's go ahead and jump
into substance designer. So we can at this
point, let's see, we have our unreal scene here, which I can close. And then here we have our
substance designer scene. I have updated to the latest
version of substance signer. This is important. Oh, sorry, let me just
get rid of this. This is important because substance designer
literally two days before I start
recording this released a very large update where we can use splines
and stuff like that. And I also want to use
some of those features. So do keep that in mind to
update to your latest version of designer if you want to use the same
features I'm using. But I do still try to keep
it a little bit universal by using techniques
that you can also do in the designer versions. I'm going to get started
with a new designer graph. We can do metallic roughness
and just call this like master underscore boot. Four K resolution is
totally fine for this, and for the rest, we don't really need
to do anything, so I can just go ahead
and press Okay. Now, here we have
a substance zier. The first thing
I'm going to do is straight away in
my texts folder. Create a Wood folder. And in here, I like to go
ahead and I like to right click on my unsafe package
and simply save my scene. I do expect that you
have a little bit of a basic understanding
of designer or at least a little bit more than basic understanding
because designer is quite a difficult program. So what I'm going to do is
not run you through the very, very basics, but
just in general, I will, of course, run you through every
single node that I use. Um, this is my default
UI for substance. What I always like
to do is, I like to always get rid of the
Trent view because I personally use MomsetTolbg
to preview my textures, and for the rest, all of these views, you
can just drag them around. So if they look different to you, you can just
drag them around. If you miss a window, just go to Windows and here you
can find them also. Last thing that I'm going
to check or show you just in case you are new to substance and still want
to follow this around, is that you can go
ahead and press space, and then you can type in all of the notes that
I will be using. This is a feature I
will be using a lot. You can also write
click art Note and here you can
also find a few, or you can find all of your
notes in your library. Now, let's go ahead and
get started with our wood. Now, what I'm going to
show you is that I have a slightly newer technique
of creating my wood grains. It's a little bit less flexible than the old
technique that I use, which if you have ever watched any of my
previous courses, you will know that one, but it is a little bit
quicker to create. This wood material, most
of it is unscripted. The reason I'm doing this is
because I want to show you my mistakes because
I often still use notes that are
very useful to know, and it is just easier than just making the
perfect material. I feel like you guys just don't really learn
anything if I literally just like perfectly recreate the material that I've
already created before, especially because in designer, it's really all
about experimenting. So let's go ahead
and get started. Now, the first thing that
we want to do is we just want to go ahead and create like very large scale
shapes that we can use to define as
gradients for our grains. I will just show you what I mean and then we can run through it. Let's grab over here in our patterns a tile generator
to get started with. Let's get rid of my tree view. Don't know why it was back. Here we go. And
then what I want to do is I want to go for
something that's quite soft. So if I go ahead and go
to my pattern and oh, let's use my scroll wheel. Let's see. Yeah, let's
use, like, a paraboil. Now the next thing
that I'm going to do is I'm just going
to go ahead and set the Y amount to zero
because I want to have, of course, like, long
grains like it's wood. I want it to be nice and long. And what I'm going to do
is I'm just going to add, like a bunch more. I'm just going to
guess 25 for now. Next, what I want to
do is, I just want to shuffle things around a bit. I can go ahead and go for
a scale random over here. Let's go ahead and go for well, offset random
doesn't really work. Let's do a Y offset random over here in the position, I mean. And what we can also
do is we can also give the tiniest
bit of a rotation. Let's do 0.005 over here. Okay, so we got
something like that. Let's do a little bit of
luminous random also. This will just give us some random intensity
in our gradients. And then what I want to
do is I want to go ahead and probably, let's see. Let's set the Y amount a
little bit less to like 22. And I want to make
these a little bit more fatter, so to speak. So what I can do is I can go in the interstine and set this higher and then set my scale
also a bit higher over here. And then I can use my
random to kind of, like, randomly control the thickness, as you can see over
here of my shapes. And for us, it's
pretty much just going ahead and playing around between my amounts and my scaling until I get
something that I like, something like
this, for example. Just like a base.
Now, of course, we might want to go in and later on change it
a little bit more. Then I'm going to press
space while I have my notes selected and add a blur,
high quality gray scale. This is because it's here, see? I'm just looking for I'm not
looking for defined shapes. I'm looking for random
gradients like this. So some darkening,
some lightning, some whitening, sorry,
stuff like that. Now that I have
these, the next thing that I'm going to
do is I'm going to add kind of like a
grainy noise to this, and we need this grainy
noise because later on, we are going to
map our gradients. And right now, if I
would, for example, here, let me just I can actually
show you just to show you, basically what we are going to do later on is we are going to use a gradient dynamic note. And then with this gradient
dynamic note, in the top, we want to grab our
gray scale input, which is just like our texture. And then in the bottom, we want to grab our gradient input. For our gradients inputs, we need to add basically
like a gradient pattern. What I'm going to do is just
for previewing showcases, I can probably use this one
because else I would need to recreate the entire
thing, boost up the tiling. And now what you
can see is that you get it looks like wood greens, but you can see that it's, like, really, really soft. Like, it doesn't
look good at all. But if we add some really
fine greens to this, really fine noise to this, it will actually start
breaking up these edges. So that's what we
are going to do now. And so just keep in mind
what I just showed you. And for this, if we just
go ahead and, oh, God, I didn't mean to do that.'s
makes this a bit smaller. I was just organizing things. Let's go ahead and go to noises. And what I'm going
to do is I'm going to often use the
directional noises. We have this one, which is like large scale directional noise. And then if we also go
for, let's see, noise. Now, one is too intense. Yeah, let's just do
directional noise tree. I'm going to set my
angles to 90 degrees because we started with our texture being
in that direction, so let's go ahead and set that. And then what you can do in here is you can also
control, for example, the angle random to give it a
little bit more unevenness. I'm going to go ahead and blend by pressing space
and adding and blend. And in the background, I'm going to add my noise four, my large noise, and
in the foreground, I'm going to add my noise tree. Now I can have a choice
between multiply over here or overlay because overlay
is a little bit whiter. But let's go ahead and
try and multiply and then just play around
a little bit more with your opacity
to not make it too intense, something like this. You can see that now the goal
is that we have a lot of these really fine
grains going on. The next thing that I'm going to do is I'm just going to simply blend my blur high
quality gray scale with this noise over here. And then what I'm
going to do is I'm going to go ahead
and set this one. Let's see, multiplies
too much, maybe overlay. Olay is also too much. And min and max lighting
also doesn't work. I'm going to do multiply, but I'm going to lower down my opacity quite a
bit, in that case. I just need some
very fine grains. Now what I can do is I can
go ahead and first of all, I want to kind of
clamp these values. And what I mean with that is
I will grab a basic levels. And as you can see over here, my scrum scan is all the
way on the left side. So what I'm going to do is
I'm going to push this back in and I'm going to push actually this one
else back in over here. And now I want to
just make everything a little bit more
like soft or white. This is because I
do not really like having a giant. No,
let's not do that one. I don't like to have a very strong difference between black all
the way to white. I like to have,
like, a gray value because the gray values just
read a little bit better. It is just experience, knowing that I need to use this. Now, at this point, what I will do is I will go ahead and I will start by creating the structure needed
for a gradient dynamic. I can go ahead and I can do
this by going into patterns, and I want to once again
grab a tile generator. And this time, what
I'm going to do is I'm going to basically
generate gradients. I can do this by going
ahead and setting my pattern over here
to where are you? This one, gradiation. And the next thing
that I'm going to do is I'm just going
to go ahead and set the Yun to zero
and the X amount. Basically, this will control how fine our grains
are going to be. The less grains we have, the larger our grains
are going to be. You can see it as a difference between these really
large grains over here. And these willy will
fine grains over here. And what we are
going to do is we are basically going to
go ahead and create, like, a balance between the two. So what I'm going to
do is I'm going to go ahead and for now set it to, like, I don't know, it's gonna
do like 14, for example. I also want to go ahead
and change my tiling mode, and I will show you why because
if I want to go ahead and start by adding these
different scalings, because I want to, um generally, change the scaling a little bit. When I do that, you can see that over here that if
I try to scale it, it tries to repeat itself,
and I don't want that. If I go to my tiling
mode and set this to absolute over here and
then turn off the tiling, it will not tile
around the corners. You can press space in your
Tui view to see tiling, and now you can see that if
I now go into my scale, see, it no longer tiles,
but that also means that it's easier for me to simply push my scaling up because I don't need
tiling for this texture. So I'm going to basically push my scaling up until they
are quite close together. And because I have the interstice I hope
I say it correctly, quite high up over
here and also random, you can see that now we get
these random thicknesses in between our gradients. At this point, you can
also try and play around a little bit with your position
random, just a tiny bit. And for the rest, you don't need to play with rotation random, and I guess you also don't need to play with your luminans. Yeah, that wouldn't
really do much. So what I can do now is I
can show you what I mean. If I now go ahead and throw
this into our gradient input, see that now it is
starting to already get these more rougher edges. At this point, like this one
would be more like plywood, so I can go into
my tire generator. And you can see that if
I push up the Y amount, I get more grains
over here like that. Now, I'm still not happy
about a bunch of stuff. So first of all, what I
want to do is I want to go ahead and probably
go in my blend and play out with the opacity. Now you can see that
that willy affects quite heavily how strong our
edges are going to be. So I want to go for
yeah, it is quite white. It's not too sharp and
it is quite white. And yeah, you can see over here, like it has these
interesting shapes, but it has quite a few
lines sitting next to it. So if I go ahead and let's see, set the opacity to
something like let's do 0.4 in our overlay
of our noises. And next what I'm going
to do is I'm going to probably go ahead
and in my levels, let's try and add a
directional blur behind it. At this point, we are
basically going to just balance things out,
which is unscripted. Well, the beginning
was not scripted, but I know exactly how
to do the beginning, and now it's more like
just trying and seeing. So I'm going to go double
click on my gradient, click on on my directional blur, and I can use this blur to basically have
very soft control. Over my edges. Looks like that
the control is not really super intense right
now, but that is fine. The next thing that
I'm going to do is because I want to have a nice blend between these larger shapes and
these smaller ones, I feel like that it might be
nice if I make this shape, for example, a little
bit larger over here. If I then go ahead
and actually select both my gradient dynamic and my tile generator
and duplicate it. And the second one, I'm
going to make way smaller. So we have these
really fine grades. Now, we can go ahead and
we can blend these two, and it depends like what
you want from your wood. So there's two ways
that we can blend them. We can just literally
plug them together, and I believe if we just
go into our blending mode, which one is the best one, I'll set the opacity quite low, multiply, art subtract, maxlten switch or
overlay or multiply. I guess multiply would
be the best one. And what you can do is
you can just go ahead and play around with
your paste over here to add really
strong grains, and in between
those strong grains are like softer grains. Another one that we can
thy just to see how it looks is to have
another blend. I'm going to one skin
blend between these two. And for this plant, what I want to do is I
just want to blend basically using like a mask. So let's say that I grab my tile generator over here just to see what it looks like. Let's make this a little bigger. Change the random seat
over here so that we change it. We blur it. And then we add, for
example, a H Scrum scan, which allows us
to basically very tightly control our colos. I'm trying to get some fill white areas, which
means that now, wait, I probably need to blend between these a
bit sharper over here. Now what you can see is that
it is basically blending these two nodes wherever
there is white. So you can see that we
have some large areas, and in between
those large areas, we have some small areas. Now, if you feel
really adventurous, what you can do is
you can go ahead and actually use this
blend as the base, which means that now we
have really soft lines, large lines, and super
thin lines all in one go. I quite like this. Like this has a lot of really
interesting wood. It looks quite
overpowering right now, but that's, of course, something
that we're going to fix. I'm just going to go ahead
and have a look in my mask because right now my mask
it feels a little bit like, yes, it works, but I'm just making sure that
the transitions over here. Okay, so yeah, that is pretty
soft transitions, I guess, because they are roughly
going to the same flow. But what we can do is
we can go ahead and grab a mask and add something called a
multidirectional warp grayscale over here. Now, the cool thing is with the multidirectional
warp grayscale, which is it's already
a pretty old node. But what we can
do is we can plug in a gradient noise, like, for example, Cloud two, and it allows us to manipulate
our edges quite a bit. So hereof we just do clouds two, and you can see that I set
my directions to four. And if I now set my
mode to minimum, you can see that it will affect mostly like our gradient edges, and we can make them
feel a lot more natural. You can also see when you switch between directions like four, two, and one, you can see one becomes just like a
normal directional warp. But with four, it just adds nice soft blending between
multiple different angles. This is a great way to break
up your shapes very quickly. Also, please note
that, of course, the further we are
using subzga later on, I will not be explaining
everything anymore. I'm just mostly explaining it right now because
it's the beginning. Anyway, doing this, now you can probably see
the difference before. And then after it
just feels like a little bit more noisy. The only thing that I
do not like, however, is that the gradient is
a little bit too soft. So I don't know if I
maybe want to just go ahead and do this, if that would be good enough. Yeah, that would probably
be good enough I just use if I just do the multidirectional war
before the histogram, and then use my histogram to basically switch between them. Okay, so we now have this really interesting
wood pattern over here that goes between, like, the thin ones
and the large ones. So that's exactly like what
I was looking for here. And you also have the classic, like the long grains like you can see over here,
like the really long ones. Now, what I'm going to do is
I'm just going to go ahead and I'm going to balance
everything out a little bit. And for that, what I like to do is I like to first of all, in this case, because this
wood is quite a soft wood, I like to blur it a little bit because right now
it's super sharp, but I like to always blur it
using a directional blur, since I don't like blurring
something that has a lot of direction with
like a normal blur because then it just
looks low resolution. You can see over here
this way too intense, but if I go ahead and
zoom in here see, you can see that
that's very quickly just ask that extra bit of fading which I
quite like 0.25. Our goal, by the way, is not to create a height
map from this, but to end up with a norm map and more important
to end up with a map that we can use to
basically generate colors from. That's the most important
one actually in this one. I'm going to go
ahead and probably, I'll show you another technique. Let's see if we can break
up these shapes a tiny bit more using something called a slope blur gray
scale over here. Now in this note, by default, you want to go ahead and
set the samples to 32, intensity to zero, and
the mode to minimum. Then what we can do is we
can use the clouds too, and I know that we
have one over here, but I need to go ahead
and scale this by a lot. Like, I don't know if
eight is even enough. And adding this to
our slope blur, if we now go ahead and
set our intensity, you can see that now here,
it breaks up the edges. It does this strong strongly. So what I'm going to do is I'm going to set this
very, very low. 0.05. No, that's too much 0.01. Now let's do 0.005,
Willy weed softly. And maybe my clouds
two, I can set this to 16 to make it a bit smaller. So 16 is smaller, but now I want this to
be even lower. So 0.03. It's very, very subtle,
but it just adds, like, a little bit of damage to our wood, which might look nice. If it doesn't look
nice, then we'll just change. Okay, cool. At this point, I'm just going
to balance out my wood, and I'm going to do that using a histogram range over here, which gives me the
option to basically, set the range of my wood,
which means that I can, like, just get rid of those
really strong black to white and instead make
it just a little bit of, like, a softer wood color. And now finally to leave
off probably this chapter, let's go ahead and
turn this into a normal map by adding a
normal note behind it, and I like to work OpenGL. And now over here you can
see our woodcrans you can see that the wood grains are working really, really well. So that's like our base
for our wood grains. What I'm going to do
in the next chapter is I'm going to give you like, although I cannot
really see them here. I feel like it's
logical if we add these knots of our wood, like you can see over
here, sorry, over here. So we're going to add
some of those like wood knots that
you can see here. And once that is done and we are blending
everything together, um, I don't know. I think at that
point, we can already probably turn onto,
like, the base color, but let's just wait and see and just make sure
that everything looks. Paper. But anyway, for now, that was it for base wood grain, so let's go ahead and continue
on to the next chapter.
11. 11 Creating Our Wood Material Part2: Okay, so what I'm going to do
now is, well, first of all, one thing that I notice
is I feel like I have not enough of the
thin lines and too much of the really large lines because I just like it when
it's a little bit more noisy. So that's quite
easy. All I need to do is pretty much go in my tire generator
and I can choose or to change the Y amount, or I can probably simply change, like the scale over here. He see, and then we can
get, like, more or less. Let's see what looks better. I always like to just
play around with it. I think I'm going to
change the Y amount a bit and then make it also
a little bit bigger. Yeah, I think something
like that should work. We got some really intense
wood here and there. And what you can also do if you don't really like the seed, you can always go in here, change the seed around until you got something
that you like. Because one that I
don't like I don't like this specific one
over here for some reason, and I'm quite picky about
that kind of stuff. So I can just go
in here and maybe also play around with my global offset some small changes. But I think in general,
yeah, that should be fine. What I'm going to do now
is I'm just going to go ahead and dis
gradient dynamic. I'm going to maybe add a few more lines in
my tile generator. I'm surprised that this
one does not have a lot. Here you see. That's
quite surprising. I just want to check
out. So this one is 64 and this one is now. So if I make this 140 and
this one from 64 maybe 80, 80 feels a bit too noisy. That's twice 70. Have a look
when it gets over here. Yeah, you know what?
That should be fine. Let's first of all, go
ahead and just focus on, now the knots, which
where's my reference. Oh, God, my reference is
really large for some reason. Give me 1 second. It's because I'm working in
different resolutions. It's sometimes is buggy. Yeah, let's go ahead and just add a few of these
knots over here because they will also affect the
flow of our gradients, and then we can
take it from there. Because even here, you
can also see quite large. Gradient spots. It's up to us to decide later on how we are
going to balance it out. For those knots, because
they can be pretty random, it's going to be not too
difficult to create them. However, I am going to go a
little bit of script again. Let's start with a
simple tile generator. Let's go over here. I do like to work organized, so I like to select
all of my grain nodes, add a frame, and just call
this main grains over here. And let's go in our
tile generator. Let's set the pattern. I want the pattern to
just be like a simple, harsh round square over here. Amount, I feel like having
probably six is fine. Then what I like to do is I
like to do a scale random over here and just make the general scale also
quite a bit lower. So these are just
going to be nice, small knots here and there. And then I can just go ahead
and go for offset random. Position random over here,
just randomized doll. Rotation random
doesn't really matter. Then what I like to do is
I like to go ahead and also in my random
mask over here, if you go all the way down, we can lower or higher the amount. I can see lower it a little bit. Okay, so from these, what we need to do is
we need to generate a few different type of masks. So the first one is
like the actual knots that we will add on top. And for that, what I'm going
to do is I grab this one. And first of all,
I'm just wanting to, like, break up the shape
because it's weighty perfect. So let's go ahead
and go for, like, let's try a multi
direction war grayscale. And maybe I can just reuse
my clouds two over here. And yeah, let's go
ahead and just do that. Now, at this point,
I can actually show you a new node if you want. However, I'm not sure if
that node works this way. So if you go ahead and press space and type in
portal, oh, wait. Yeah, portal, you
will get a dot note. This is a brand new feature in substance designer, 1 second. I completely forgot
welcome screen I forgot which one it is, so I will need to double check just to make
sure that everyone knows. It is substance designer number. Come on. They make it so
difficult just to see. Well, it's Satas Zino version that has been released. A here. Version 13.0 0.0. So make sure you don't if you have a low version than this, you will not
have this note. Basically, what the portal
nodes note allows us to do is it allows us to input or yeah, just input like anything. And then I can go over here
and I can give the name. Clouds score. To underscore basic. Now the cool thing is that I can now recall this somewhere else. So what I can do is
instead of needing to click and drag these
clouds all the way over here, this is a new feature
where I can create a portal here so I can
go up here, space, portal and create a
dot node then I can go into the input portal and I
can select clouds to basic. And plug it in. And then
what it will do is it will basically read this
note over here. This will make our
workflows so much cleaner. I really, really love this like I'm so happy
that they are d. So we are also going
to make use of this feature just
to organize things. Now having that done,
I'm going to set the mode to minimum because I want to go ahead and only
cut away from the white. And then with four directions, you can go over
here and play with your intensity to just go ahead and give it like as
you can see over here, a bunch of slightly
different looking knots, which is looking quite good. Awesome. Now what
we need to do is, let's see, we need two of them. We need a edge detect over here because I need
to detect the edges. Let's say the edge roundness
lower. Here we go. I just need to have a
detection around the edges. This is later on
needed for, like, to push our knots inside of the wood a little
bit, and also for the colors. It will also work with colors because as you can
see over here, around all of these wood knots, you often have like this around edge around it. So
that's that one. Now what I need
is I'm just going to give it like a blur,
high quality gray scale. Just give it like a tiny blur just to make it a
little bit nicer. And I'm going to
use a vector warp. So if I go ahead and add
a vector warp gray scale. Now in the vector map, I'm most likely going to I just need to make
sure that this one works. I need something to actually
warp around and I'm just going to probably use
some lines for now. Basically, what
we're going to do is we are going to rotate these lines around inside of these knots over here to basically mimic the
effect of having grains. Let's see Y amount by resolution and direction shouldn't
really matter too much. I should be able to input this. Add a normal node and just open GL and just plug
in the norm map over here. Then what I need to do is
it only notices that node. That is a bit tricky. Let's say, instead
of a norm map, let's go ahead and grab a
let's try like a flood fill. So I'm just going to try
using a position map. A flood fill basically converts any isolated shape
into like a position, and using that, if we go ahead and just play around with the intensity, here we go. We can get something
quite similar. It is going to be so
small and subtle. I don't need it to be
like really perfect, to be honest, because it's
just not really needed. You will never get the
resolution for that. So let's see, something
like this might work. I'm just going to
see what it looks like if I plug in
this one over here. I guess with this one, we
need a bigger intensity. This one does feel a bit
better, to be honest. Let's just go, you can definitely see
there's a difference. Let's leave this one out
the endostopic noise. But for now, let's just go
ahead and use this one, and I'm not going to
use those dot nodes for really small
function like this. The reason I wanted
to use the dot node on a Clouds too is because we can reuse it
often. We got this one. Now, basically what we're
going to do is we have a blend and we're going
to blend our edge, and let's set this to subtract. Yeah, I'm probably going
to leave it like this. Then a histogram range maybe to balance things
out a little bit. So this is number one. What you would do is
if we go ahead and add a normal note and just
have a look how this looks, you can see that over here, I would need to probably set my edge detect
quite a bit lower. God, looks like I cannot
go lower than this. When you cannot go
lower than this, there's two ways that we can do. So there is a note which is
called fine edge detect. However, this note
is probably being taken offline already by now because it's
quite an old one. But what I can do is I can just import it and see if it works, and if it does work, then I
will give you guys this note. Fine Edge detect
allows us here to go much smaller
with our dgetect. I've placed this note in your
textures and wood folder, so you guys can also use it. So another way would be to grab a blur and then to add another
histogram scan behind it, which basically
allows you to see to also balance with it. But it's not always as accurate as the fine
Edge detect note. So we got this note. I don't think I need to
blur it because it's so thin now. So let's see. We go around it. And that's looking pretty decent over here. So I've looked at my Hcrum scan. Yeah, the position is fine. And here we can control the
intensity. Okay, Awesome. So what we can basically
do is with this one, and I often like to just add this after we have our norm map. You would have your
norm map here, and if we just go ahead
and combine those, it would basically
be a normal map. Let's do a, I don't know if we
need to combine or blend. Let's do combine. Basically, what I'm thinking
about is, of course, when we have these
notes, we need to cut away the stuff behind it. Basically what you need to
do is you need to blend your norm map with something called a
normal color over here, which is just a
plain normal color. For the mask, you guessed it. You want to just use
the knots over here. It looks like that I'm
just going to swap these two around.
There we go, see. Now we have our
knots. However, I guess that the Etche detect
needs to be added on top. So let me just add
another blend and blend the knots along with the
edge detect over here. Set this to art. Does
that make a difference? Yes or no? Yeah, yeah,
does make a difference. Awesome. Okay, so basically end up with just the knots
and the stuff around it. And then when you blend
these two together, along with a high quality, you can see that now we
have our knots in our wood, and what we would
want to do is we would want to probably make
this a lot less strong. What you can see now is that
you can see through this. So it's up to you to decide
if you want to do this, or you want to go ahead
for a normal blend. And with normal blend,
you can basically blend between to num maps
like this using a mask, which will make
sure that you just cut out the knots themselves. But, okay, so we
can decide on this, but first of all, what we need to do
is we need to warp all of these areas
around our knots. Now, this is quite easy. So we have over here our multidirectional warp K scale
and all that kind of stuff. What I'm going to do is I'm just going to go ahead and add a high quality
grayscale to this one. And yes, I'm going to make it quite intense,
something like this. And then I'm going to add an outer levels behind it
just to push it back up. And I think that should work if I just go ahead and blur
it a bit more over here. Now the next thing that
I'm going to do is, let's see, let's do this one after directional
blur probably. We can add something that's
called a non uniform blur, sorry non uniform
directional warp grayscale. It's quite a big one. What I can do with this one
is I can go ahead and plug in the input
any warp angle, my directional blur, and
then in the intensity, I can plug in that blurry noise. What it should do is it should warp its own texture
around our blur. You can see it
happening a little bit. And then if we just play
around with our density, you can see that it's
starting to warp basically itself around whatever
we blur it in. That's why we want to
have the warp angle, the same stuff, which
means that over here, you can see that now, and
if I go a little bit later, you can see that it has
warped around of our knots. If I now go ahead and play
around with the intensity, to not make it too intense, you can imagine that
now at this point, because everything
warps around it, these knots over here make a little bit more sense
to have them over here. I'm also liking the
normal blend more, so I'm just going to go ahead
and delete the other nodes. And it's just nicely organized
this. So we got this one. I like this more, yes, but what I don't like is that it still feels like the knots are not really a part
of anything else. I'm going to maybe make
my intensity a little bit stronger over here to
just warp it around. And I want to go ahead and
make the fine edge detect. It's add a quick blur
high quality gray scallet quite like a low level, which will hopefully soften
out. It will soften out. Those noms like a
little bit, 0.05. Let's do seven maybe. Maybe six. 0.06 over here. And
then in general, I need to just check later on Imams toolbg to see if this is looking like the way
that I wanted to look. But okay, so we now have, like, a little bit of
these knots over here. What you can do is you can
also now at this point, maybe add some fading to it just to make it a little bit more
visually interesting. We can probably do that Now, we probably want to
do that over here. So let's see. So we
have these knots. And if I go ahead and just add a directional warp
sorry, directional blur, set the blur up to 90 degrees and use this to kind of create maybe like
a fading effect, I can blend my knots along with the fading effect
and see if that maybe creates a slightly
more interesting effect. It does work, but not completely the
way that I wanted to. Probably what I want to do is
I have my directional blur. I probably want to
go ahead and add a outer levels to
it to push it up. That didn't do much. Well,
actually, it did a little bit. Then I'd like to add a blend and I'm just going
to blend this with our wood grain that
we've used before. Maybe a multiply. There we go, just
to break it up and now that will create
some type of fading. I guess maybe adding a
histogram scan behind it just to have more control and pushing it out and in and
all that kind of stuff. That will add a little bit
of breakup and fading. It's really subtle, but
it can definitely work. So let's say
something like this. Now, let's have a look around. So we got our noise like we have over here.
That's looking pretty good. We might need to still
do some balancing, and we got our noise over here. I would say that the
next thing that we want to do is we probably
want to go ahead and add a few grains
that are like these more deeper cuts
inside of our wood. And after that, I think we
can start just already, focusing on the color
because with wood, you really want to go back and forth sometimes quite a bit, just to make sure
that it's fine. I can go ahead and add a frame
here and call this knots. So let's see. We have our woods, knots and stuff going around it. I also feel like
actually over here in this non uniform blur, we
have our outer levels. I feel like adding a
directional blur in here on the 90 degree angle to make this non uniform blur
pushed out a little bit more. If I then go ahead and play
around to the intente. I can make it C, go a little bit more in a directional angle. It is subtle, but once again, sometimes subtlety is key. Over here. Okay. And yeah, I'm not yet sure about norm map. I don't feel like it's
completely in the right space. I feel like, but that's
something that we can, of course, have a
look at later on. So yeah, the last one
that I'm going to do, I'm just going to add
some more deeper grains along these routes, and we'll take it from there. So for the deeper grains, we probably first want
to create a noise, and then we want to
warp it around it. I can remember we're
having like a noise here. I think what was it crunch map
05 no, that's not the one. Funny enough, you'll have
this one which kind of feels like something
that is wood, but it's not the same. But I'm just going to, like, play around with
it a little bit, just see if it does anything. No, it doesn't. Okay,
so let's have a because I want to go ahead
and warp it around this one. I'm going to go ahead and
I'm going to probably grab Let's try to maybe, like, grab a tile
generator over here. And then if I go in, let's see, set the Y
amount a bit lower. For the patron, I'm just
going to go for square. I'm going to basically give this an interstate size X that is thin and also a random to
give some random thickness, some scale random, offset, random, and then the Y and the X offset is going
to just be like this. I'm also going to actually
in the interstise Y, I'm going to also give
it some randomness. I feel like over here,
I also want to go ahead and just tone
down the randomness of thickness like that.
Let's have a look. Some slight rotation, maybe. So luminance random. And then if I add a multi
directional warp grayscale, maybe what I can do is if
I go just to noises, see, let's go ahead and add a portal and add a clouds too
basic to this one also. Mode minimum. If I just go
ahead and set it really high, it unfortunately breaks
everything a bit too much. I guess if I do a mode that's one or maybe
two directions. Now, as soon as I
do one direction, it does break too much. That is a little bit
unfortunate that it does that. Over here, it does
create some quacks. Oh, yeah, wait,
here, there we go. So this actually might work. If I set the Y amount in the ti generator a
bit higher and sorry, the X amount and the Y
amount is a bit lower. And then try and play
around a bit more with my intensity to create these
random looking cracks. If I then probably start
warping them already around it, and I wonder if I can just
use the non uniform blur, but I would want to then warp it using the density and then
do something like this. It is not warping correctly. So instead, what I can do
is I can go ahead and I can literally use a classical
warp and maybe use that one. Oof. It has quite a bit of trouble warping using this specific
texture over here. Let's instead try to maybe, let's again, prequb the non
uniform directional warp. And then if we just
have this wp over here and probably blur it a bit. So this after we have already
done all of the warping. Then it should pick up on the
shapes a little bit better. Let's do quite a heavy
blurch maybe like 0.7, and use that as intensity
and then plug in my warp. Like I said, this is just literally just trying stuff out. It's just that supernatural. So now you can see over here it is warping around our shapes, but it's way too intense. But if we go ahead
and set the wait, let's the max warp angle input multiplier down. And
now let's try here. Now, if I just carefully, warp it around a little bit, that should sort
of do the trick. If I then add a slope
blur gray scale, maybe, and grab again, like the crowd suit
that I've used before, set samples all the way up, mode minimum and intensity down, I should be able to kind of like break things
up a little bit. And then by the time
that it actually gets added to the wood, yeah. So yeah, we do have some of these really more thicker cuts, which I'm not the
biggest fan of, but let's just see
how this looks. So we have our Hc
range over here. Now what I can do is
I can go ahead and add a blend behind that, and we have this one I'm going to go in my
tile generator, and I'm actually just going
to play around with my sat until I get one that
hopefully doesn't have these really
thick flat areas. There we go. Sometimes
it's just about luck more. Okay, so we got, these little bits of warps. We blend them. Probably I also want to fade them in and out near the end. The way that I can do that
is I can probably grab, it's probably easier if I do it before I do anything else. I can go ahead and add a histogram and I
can do this easier. I can do this more optimized. Let's go ahead and turn
off the luminance radom, add a flood fill. And then in our flood fill,
we can go ahead and add a two random gray scale, so that will bring back our
luminance random over here. Stop check if that
still looks correct. Yeah, still looks corcck. But now what I can do is I
can also add a flood fill to gradient, plug this one in. And that will give us
some angle variations to fade things out. I will see if this looks good. So if we go let's see
if we just grab this if we blend the flood field to gradient to random gradients and just do like
multiply over here. Let's see if that breaks things up a bit more. Yeah,
that looks nice. Another thing that you can
do is you could go into your tile generator,
and instead, you can input maybe
something like say, one of those
gradients over here, and then use like a
patron input image. And then you can see
that it also fades in and out like that. However, if we do that, so that might
actually work better, funny enough, in this case. This one is more like
more randomized, but what we can do is
we have our flood fill. Then what we need to do is
we need to add a levels because flood fills do
not read gradients. So we want to add the
levels to kind of push up our gradients
again, flood fill it. Let's get rid of this blend, and then again, push it down. However, the annoying thing
with the random gradient is that it loses all
of these details. So we would then need to blend it again using the
tight generator. So it's a bit of,
back and forth. And then if we multiply
it, there we go. A bit of back and
forth, but in the end, we have some pretty
nice warping, like, lines that
we can work with. Now, if we go into that blend where we go into our Hcam range, if we just go ahead
and go to subtract. And let's have a look at
our wood while doing this. Oops. Wood. We can go in here. I like it, but I don't like
those really thick ones. If we just go ahead,
I like the thin one. So maybe we just
need to minimize the and here the random
vector over here. Let's see how does that look? Yeah, see, that's a
little bit thinner. It cuts through a little
bit better again. I think for now because this is something that happens more inside of the actual base color. I think for now, that looks
pretty good. We got this one. Now what I will do is I will end this chapter by just previewing our wood norm maps
and stuff like that. We are going to just
go ahead and in our output notes,
delete everything. And here we have our wood. We can just go ahead
and plug it into our normal I on purpose
kept this quite strong, but now I'm just going to
tone this down to 0.7, and then I also
need to tone down my knots based upon
that's to 0.1. And here we have a very subtle but very
important base wood. We can get rid of metallic and we can get rid of the height because we don't
need it right now. You can temporally add a RTAO which is a rate
race embiooclusion note. And for this note, we can
plug in this one over here. Actually, our samples don't
need to be that high. We can go quite low with
our samples, let's say 30. I'm just going to set
split angle, sorry, maximum distance lower and the height scale
quite a bit low. There we go. It's a
really strong AO, but it's just for previewing
purposes right now. So having this, I can
go ahead and save. And now, when I want to preview
this inside of Mom set, all I have to do is, first of all, I
have to export it. So we can just go ahead and
in here in this folder. We can probably
export it in here. You want to go ahead and
go to your master Woods, right click and Export
outputs as Bitmap. Select the folder that
you want to export it to. And I personally like
to always export as a Targa file or TGA file unless it's a very
detailed height map. Then I prefer PNG. And this is quite important turn on automatic exports
when outputs change. This allows us to make
a change in our graph, and automatically it will export so that we can preview
it inside of Mom Set. I've got to press
Export over here. And now what I want
to do is I want to open up Mom set to Black four, which is just my preview choice for materials and
also for assets. So what I have over here for you is I have a preview scene. I call it the texture preview
scene in your texts folder. You guys can have the
scene completely for free. So I did a lot of experimenting to get the best
looking scene for, like, all of your
materials to work. If you want to know how
I created this scene, you can simply go to my YouTube channel just like FastTrack Doyles and in here, you can just go ahead
and look for creating high quality material
renders using Mom's the TolbacFour or you can just type
it into YouTube. And then you will be
able to just find this editorial on how to
set up scenes like this. This will just save
me a little bit of time because I just want
to quickly preview it. Got to press the
plus sign and go for Wood underscore zero, one. And in here, I'm going to
simply in our norm map, I'm going to drag in the
normal that we exported, which is the DJ file. And then in our Occlusion map, if we go for occlusion, we can drag in our occlusion
and drag this on here. The occlusion, I'm going to
make a little bit lower. So let's say 0.5, for example. And another thing that I
like to do is in my texture, I always like to tie this
by two or three times, especially when it is wood. And in this case, I'm
going to lower down probably my color a little bit. So now we can kind of see how the wood is behaving and
everything like that. So in general, I quite like the grains and I
quite like the knots. I definitely noticed
that yeah we need some color in order to
properly preview this. And I feel like that my norm map can be a little bit
stronger than this. So I can go in my norm map, maybe do like 0.1. But you want to make
the wood quite solid because it is a
slightly sanded wood. So it's not like really rough or bare wood
or something like that. So this is more like just
like a subtle effect. And now in the next chapter, what we'll do is we will
get started by working on a base color
and the roughness. And after that's
done, we are just going to go back and forth a lot improving our wood until we
get exactly what we want. But for now, G
automatically updated. For now, we have already
like a really solid base. So let's go ahead and continue
on to the next chapter.
12. 12 Creating Our Wood Material Part3: Okay, so what I want
to focus on now is I want to go ahead and focus
on the actual base color, and I want to try
and make a blend between the super clean
stuff you see here, but then also
introduce a little bit of the more worn out dirtiness here just to gamify
it a little bit and get a little bit more
of these worn effects. And then what I can do
is I can, of course, later on in my actual
unique textures, I can, like, increase
that even more if needed, and especially around these
areas and stuff like that. So basically, when
it comes to wood, we often want to create large scale and small
scale color variation, and then we want to start
layering things on top, like folks at B darkness, brightness, all
that kind of stuff. So what I'm going to
do is I'm going to go ahead and start with the large
and small scale variation. For this, basically
what I will do is we will use a gradient
map for which we can basically grab
the colors from a real image to then map
them onto our gradients. I'm going to go ahead and I need for large and small scale, two gradients, and this is a
pretty standard technique. So for the small scale, you just want to go
ahead and you want to grab probably over here, like the final one, checking. Do I want to add it
before or after? Maybe I want to make it really strong and then
tone it down again, but we will need to
have a look for that. And then for the small scale, I basically want to get sorry, for the large scale because
this is a small scale. I want some really
large scale masking. And for this, often when
you have various shapes, a quantize note is often quite handy over here
because it kind of like, if I just go to input, it kind of allows you to, like, change your gradient
steps over here and you can make them quite
large or small scale. Now, having this over here, I don't think this is
the right one to use. Let's have a look this one. No, maybe let's go
even way before that. Yeah, there we go.
That's better. We just need here, large scale variation like this, and then with this
one, I don't know, we probably want to
go ahead and blur it. However, blurring creates some
messiness around the edge. We might actually want
to keep this and then later on we might want
to play around with it. The most important one
is the smaller scale. What I can do is over here, I have my small scale. I can go into my
gradient editor. Then I can press pick gradients. Now, I will try to do
this all on one screen, however, it does
not always work. What I want to do is I want to decide which color I want
my base color to be. I feel like that it would
be more beneficial to add these darker and
lighter colors on top. Instead, I want to probably grab this one over here
as my base color, and I need to grab it in
an area that's quite even. That's the annoying
thing with all of these shadows. That's too dark. I might I look. I need to look, basically. Let's go ahead and just
pass Pi gradients. S here, that's unfortunate it heights because I'm
clicking on the program. I am not able to do this on my on one screen so
you guys can see it. Basically, what I will do
is I will pick radiant, and then I just click
and drag over here on the image to capture the colors. So you
can see it like this. I do pick radiant,
click and drag. And now what you can
see is now it grabs the colors from the area
that I've dragged in. So I'm just going to
go ahead and try this in a few different areas
to see what works best. So now we'll try somewhere in shadow and shadows
don't really work. Now I'll try
somewhere in the base which is grayer,
definitely does not work. Now I will try over here, and I will show you
when I got the right. So these are like, Doc. So just bear with
me for a second. Like this is Liti I just need to figure out
which one looks nicest. There's no rocket
science in this. It's Litty just
trying stuff out. Seeing. And I want to avoid
the super high noise. That's basically the thing
that I want to try and avoid. So that's what I'm
trying to do here. And that's why these ones
over here just do not work because you can see
how noisy that they are. What you can do to avoid noise is to basically
make when you drag it instead dragging
all the way across the way, just drag like a tiny bit. Let's see if there's maybe like a good image in here that I can use instead of like
some really nice wood. This one, maybe.
That would work. So this is super important
to get this white because this one makes or
breaks our material later on. This looks like way too noisy. And I'll, Well, I
can try this one, but I don't think it
will work because it's again, too noisy. Yeah. I mean, that one kind
of, like, works a bit. 1 second. Let me just see.
I think I'm on something. Or not. Yeah, okay, so those ones I
just do not like. Honestly, I think in the end, the first one over here, if I just drag somewhere
around this area, that one looks the best. So if I just go
ahead and try this. So of course, we do need to balance things
out a little bit. Let me just go ahead
and try and see. Okay, so that's quite heavy. So it is quite heavy,
but don't worry about, it being too heavy
because we are going to, like, balance things out a bit more. So let's do this one. I literally just drag from up
here all the way down here, but I made sure to drag it
only into the sun because, of course, the
shadow is too dark. So let's go ahead and
try something like that. And now that we have
a general balance, what I like to do
is I like to add a color, replace range. So let's type replace instead. Color replace Ringe. Set the source range
all the way up, and then for the sauce color, just grab the color that is the most common
one in this area. And for the target color,
grab the source color. Now, that basically means
that nothing has happened, but now we can go in here
into the target color, and we can add like
some very light changes and see what we want to, like, control a bit here and there
until we get something, and I'm just looking
at my screen to get, like, roughly like an over exaggerated part
of, like, a wood color. And then what we do later on is we tone it back down again using some other parts so Just basically, yeah,
this takes a while. Let's start with
something like this. It's like a touch and go thing when it comes to
these type of colors, so we just need to, like,
play around with it a lot. This one only has two gradients. So basically what we can do
is we can go to our green de, pick the exact same
gradients as before, and you can see that it will
only pick two gradients. However, we can
now use our steps. To basically create here. So if we go for eight steps, we can create some very large
scale variation over here. Now, what I like to do now is, I like to often blend
these two together. However, right now, this
feels a bit too sharp. But as you can see,
when I do a blur, it's often Yeah, it creates like a line around it,
which I don't like. What I can do is I can try
to just completely destroy the edges using a slope
blur color over here. And if I use, like, a
really grainy noise, so it could be clouds, too, but it could also
be like, where are you? Like the moisture noise, for example, something
really grainy. And if I did sent
my intensy down, you can see that over here, I can just completely
destroy the edges if I make them quite large, and then I can use my samples. Over here to control, how
much of this I want to, and maybe let's see minimum. Now, let's just do
literally blur. I'm just basically like creating these artificial edges because this color will be like,
really, really soft. And this will be the main color that's
going on top of it. And then what we're going
to do is we are going to tone everything down with like
a dust layer, pretty much. So let's go ahead
and grab a blend. And we can grab this base, and then we can grab
this top color on top. And for this, sometimes
I'd like to just literally use my
opacity. To see. And then you can already
see that already adds quite a bit of softness, but sometimes I also like
to just switch through my blend modes because
you never know if like a max lighten
note over here or, like, darken you never know
if it gives a nice effect. So, overlays too much,
but, like, switch. But I think a switch
often doesn't really do much. Doesn't do much. So, let's go ahead
and tone this down, and now we can also
go in here and just control how many colors we
actually want from this. Yeah, let's do
something like this. So it's not super intense, but it still has quite a few
different colors over here. Okay. Now that we
have done this, what we can do is now we can add a blend and we can basically
add a dust layer on top, which will kind of like
soften everything out. And once we've done that,
we can start defining these colors a bit
more and also add, like, additional
details here and there. But I think, yeah, like we have, like, the brownness, although
we might want to go, like, a little bit more in
the direction of, like, it's like purplish. You can see it better over here. It's brown purplish
type of direction. However, we are
also going to add some general additional
color variation that's really extreme on top, which I will go over later. For the purplish
direction, by the way, what we can do is we can
go ahead and once again, do a replace color range, click on your original. And this time, set
the source color to be this really dark color. And the target color can
be like the target color. And now for this one,
what I'm going to do is I'm just going to go ahead
and set the target color. Okay, that's Willy Willy song. I kind of not expect
that. 1 second. Let's go. Target Col. Yeah, I think we need to go more like a gray scale over here,
something like this. And then what we can do is we can go ahead
and just mask out those specific areas
for which we can use a histogram select
most of the time. And then you grab
by holding Control, you can duplicate your output. And I kind of need to just
twine, here, let's see. Let's set position
down and range. And I'm going to twine, like mask out here, see. Now I'm basically
masking thanks to a Hogram select,
just those areas. And now if I just
go ahead and blend, these two areas using a mask and this mask I most
likely want to let's see, which good to my past kind of make it a little
bit more purple. And I can go in
here and if needed, I can set my target
cold be a little bit lighter over here so that we
also have a bit of control. But by the time that
we get to this point, you can see that everything is always a little
bit tone down. So that's why you can play around with it and
make the colors in the beginning quite extreme. And then they tone down. So and that's why you see me going even more in
the direction of purple. Okay, that might be a
little bit too much, and I'm just like toting
down my opacity a bit. And then we go, see, so we get a little bit of a purple flavor. Now, for our dust layer, I often just use like
uniform color over here. And we want to make the dust, roughly the general color
that we want to mimic. For that, I think
I'm by this point going to go over to this side, and I'm just going to go for slightly darker color over here. So you can just go
the press pick. You can once again, pick on your image. Let's
start with this. I feel like it needs to be dark, but let's start with this. I then going to add a
dust layer over here, and it needs an amiclusion
and a world space normal, and then optional
is like a mask. For ambit occlusion,
we can try this one, but most likely it will
not be noisy enough. So if we just go ahead and do that and see
occlusion amount, noise, Yeah, I feel
like what I want to do is I want to blend my ambient occlusion
because I need to blend it using something noisy to get this really noisy effect on top. Let's blend it with
some white noise over here because
I still want to incorporate a little
bit of that effect. So here now we have a dust. And if I just lower
down my blend. Okay, so like that. And then level. So I'm adding more dust in
some areas and less in others. Noise, but I feel like maybe change let's play
around with my mode. Now, I think multiply is fine, but what I want to do
is my white noise. I actually want to go ahead
and add a transform in between and set the transform to minus two to make
it even smaller. I needed to be super small, fine noise over here. Yeah, see, and
just go to be like this really soft effect. By this point, I am also
improvising a little bit, so just bear with me. I'm just like, maybe, let's tone out the contrast. And let's just in general, let's plug it into the
opacity of our dust. You see? It's subtle. But now if I just go ahead
and twin with my colors, so it is subtle over here, and maybe I can play around with my levels a bit to make
it a bit more here, see. It adds adds some softness, but it can become
overpowering really quickly. But here, just let you add
some soft grainy feeling. And often this works quite well, but we don't overdo it because then it just looks like the
texture is low resolution. Okay, so we have these ones. Now what I'm going
to do is um let's add another like
large scale color. And let's see. What else? Shall we add? So
let's have a thing. So large scale color I want, and I'm looking at my reference
by thinking about this. Let's do large scale color. Let's do a fading effect, which will slightly blur
certain areas to kind of, like, create a
softer wood effect. Let's add a overall
darkening effect. An overall whitening
effect which will create these dark areas
and the white areas. Let's add a more intensity for those thicker
cracks that we created. Let's add more intensity
for the knots. So you can see, I'm
literally just layering. So number one is
going to be a very, very strong effect for which I want to use the
quantize over here. And I'm going to make this like just something
like this and maybe let's set the offset or maybe like slope
I just want to, like, Oh, hey, cool. I kind of forgot about that
that we have the slope and that can also control
the softness. I wonder if that
Oh, no, never mind. That still would not have done exactly what I wanted for that
situation, so that's fine. But I did to be honest,
forgot about that. So because it's pretty new. Quantize we got the
softness going on. I'm going to add
the gradient map, and I'm going to grab like
really extreme colors, but more in like
the warmer tone. So if we just go ahead and click here, what I'm going to do is, I'm just going to
click like a few dots, and I'm going to set my
colors of these dots myself. So we have purple and
purple doesn't do much, so let's add another purple. Over here, and it's going to be like really extreme colors because we are going to
use this really finely. I'm going to go for red. I want to have warm colors in here because wood is well warm. So, I do want to, like, maybe add some
yellow in between here. Yeah. See, it's almost like a burnt wood type color effect. But the cool thing is that if we just go ahead and
get this right, it will give us some
really interesting effect. And let's make this
one, also the last one. Let's make it also like really strong yellow,
something like this. And we are going to very, very softly overlay this. So here we have our paste and I think I can
literally just do here. I don't like the purple xi. So the purple has to go. It's too strong. So let's
go into our purple, and let's just make this
like a little bit more. Oh, wow, it's really
difficult to get it. Yeah, let's go that maybe
this purple over here, we can make it a bit more red. This one also like
a bit more of like a warmer tone. And
let's have a look. So basically, here, you can see, like if I make it stronger,
you get this effect. Now, once this is done, I feel like let's try to set
the slope here, even softer. Just let's just go
extremely soft. And I'm going to
just make this very, very soft like
0.07 or something. It's like the tiniest
bit of fading. Actually 0.05 is tiniest bit of additional effect
on top of it. Now, at this point,
it's probably best if I first do the
knots and do the cracks. And the reason for
that is basically just because all this blackness
that we have on top, it has been added to
the wood later on. Like it has been throughout age, through aging of the wood, it has started to come out. So what I'm going to do is I'm just going to go
ahead and make one. Like dark brown. And I think this dark
brown is already enough for both our
knots and our cracks. For our cracks, I'm going to
go ahead and grab our mask. And for our knots,
I'm going to go ahead and grab Let's see. These are the rings that I
do want to grab the rings, but I kind of want to,
like, maybe, like, blend the rings with
the final strength, and I need to blend it
using just this mask. Like that. Yeah. So let's
go ahead and first of all, we have over here our quacks. Very simple, just like
toe down your paste. Just going to be like some
slightly more visible quacks. Then the next one we have
over here our knots. And you can see that
the knots over here. I'm just going to go
ahead and in my color, I'm just going to make
everything like a little bit more brownish because that feels a little bit more logical. Does mean that maybe
our quacks, we need to, like, the bit stronger
here and there. But honestly, at one point, we would just preview
this inside of Momset and then we are going
to balance everything out. Yeah, so our knots, that's fine. Okay, so now we are going
to get started with our brown and whitish dirt. And for that, I know that it doesn't look anything
like this right now, but trust me, don't worry. Like, we are going to go
in this direction soon. So let's have a look. So for the darkening that I have over here
and the whitening. So the whitening,
of course, in here, it is more like an edge effect. So we will not use
that one to extreme. The darkening over here, it definitely goes
with the grain. If it goes with the grain, what I maybe can do is I
can add a histogram select, and from this, I can get
like something interesting. So where let's just grab our original one over
here. So we have this. And by the way, actually,
one thing that I forgot to test is what if we use the one after Okay, so just gets a bit of
that darker color. Oh, no, that's fine.
Sorry, just ignore that. So basically, his scrub select. I can go ahead and set my
range quite a bit lower, but it's more about, like, trying to get an
interesting position to get some darkening
out of this. And I do want to make
this like quite strong. So let's try
something like this, let's then try to blend
this using once again, let's try a should I
try a quantize nose. So if I just turn the
slope off and play around with the
steps, I can yeah. What I could do is I
could use a quantize. And then what I can do
is I can go ahead and add a histogram select again. And an Aagram select allows us to basically set the
range all the way up, but then, not the range so
I contrast all the way up. It allows me to basically, if I set the range to around 0.5, select every single quantize
that is located in here. So if we grab this one, for example, you can clearly
see that it can select it. Now if I go ahead and so that is the area
I want to have this, it would be too strong if
I just blend it like this. If I said it's to
multiply, so these areas, I can go ahead and play
around with my slope, but it doesn't seem to work. Instead, what I'm going
to do is I'm going to go ahead and I think a slope
rascal would also not work. The reason it wouldn't work most likely is because the
multiply is too strong. But I mean, it is always
worth just trying it out. So if we go ahead
and once again, set the samples low, Okay, yeah, that
might actually work. Okay, just to get a
soft fading effect. And I know it looks like
a little bit buggy, but yeah, you can do that. Or what we can do
is we can also, of course, try like
the classic blurring. But with blurring, actually,
yeah, you know what? Blurring might actually be better when it comes to colors. Not when it comes to height, but for colors, we might
want to, like, blur this. Okay, so we have this. Now, I really do not like
the shapes right now. That's the first one, but I
can already do some tests. I can go ahead and grab a
try like a uniform color and grab like a purple color grabber from it from one of my textures. Okay, so this is what
we have right now. So it does go against the grain. However, it is nowhere near this type of effect
that we have over here. There's a few things
that I don't like. First thing is that
the quantize I just don't really like the
position that we have. So I might want to
just go in here. That one might be
a little bit too much to be honest, but
we can try it out. So we are just
blurring that and then we basically get this
really strong effect. Now, if we go ahead and also add a let's do a
multidirectional grayscale. Let's once again do a
power power. Dot note. I forgot what it's
calico bottle, and then crap the
clouds too basic. And let's use that one. If we set this to minimum, can we make this really
intense? Like 200? And basically what
I'm trying to do is I'm trying to break this up so much that you cannot even see what we're
doing anymore. It's almost like
raising new noise. Okay? So that is broken up, but it still has some
directionality to it, maybe not as much
directionality as I want. But if I set the warp
angle maybe up to like 90, let's see two. Now we definitely need four. That has some directionality
to it. That's fine. Now I need to, in my
his scrub select, maybe toe down my range. Let's see this one. It's tricky to it's always just a bit tricky to get
just what you want. So I'm doing a Cloud two. I'm just curious if I grab this Cloud two and
just out of curiosity, if I add like a transform
note to this over here. And I like scale this up by holding Shift and just
make it really long. And I know it's
not table anymore, but I just want to see. Okay, so does that art enough directionality for
me to be worth my effort. No, it breaks things a bit. I do not like that, but I wanted to go
against the grade. Let's try a classic one. Let's try to get rid of
the quantize for now. And instead, let's grab a
let's do a grunge map, 003. Set the contrast quite high
and the balance quite low, because this also has
technique directionality, and you can use your randomize
to see if you can get, let's try a grunge map. 02, crunch map 02 might work. Let's try using that one and then this one is a
little bit more sensitive, so we need to break
it up soften it out. And right now, it looks really, really strong. So let's see. So we got this. That's fine. I'm starting to like how
it fades in and out. I would like to have also maybe
like a tiny bit of, like, additional grunge ardens
in between these areas. And I could do that
by just simply adding like a blend and grabbing like a grunge map
for which I can funny enough, I could literally, like,
use actually, know what? I don't want to use that
one. Let's do a grunge 001, tone down the
contrast all the way, play out a little bit
with your balance, and then let's do
seed number one. Okay, so we have
got this one, and now what we need
to do is we need to just mask out where
do we want to have this? And for that, what I'm going
to do is I'm just going to blend this strong
version over here. Let me just see if I do want
to make it more optimized, but let's just see if I just
tone down the contrast over here and set this
to, like, subtract. Let's see. Okay, so
we have this, yes. Okay, so we are now
blending a bit in between. Now, the cool thing
what I can do is right now I have two
of these grunge notes, this one and this one, but the only difference Wi is
a balance and contrast. If I use a histogram scan node, I should be able to basically
mimic that same effect. So 0.49, 10.49 over here. And it's slightly strong. So if it just tone
down this way, I'm only because you can
see, like over here, 60 milliseconds means that this note is quite
expensive to use. It will slow down our graph if we use too many
of those notes. But this way, we
are just using one. So we save 60 milliseconds. We will not go over optimization
too much until the end where we are going to where I will have a talk
about optimization, but for now, that's
not really in order. Okay, I got all of this
stuff pushed together. The last thing that I want
to do is I want to kind of, like, break up my edges. Now for my edges, I can try to just use like
a very soft blur, but I run the risk that
my texture looks blurry. See? I run the risk that
that basically happens. I can break it up
using maybe like a slope grayscale or a
multidirectional come on, multi directional
warp gray scale. The multidirectional warp
can just use the clouds too, which I'm going to use here. And it does create
like some warping, but it does it kind
of like everywhere. So if I maybe do
like minimum, no, it will only work if
it is like an average, but then it also it
fades everything out. Which, that actually
might look good. But let's also, of course,
try other options. The second option is that I'm just going to use the clouds to that's tiled a lot
that we used before. Set samples all the way down. And let's try mode blur for now. Okay, let's not do that.
Let's try mode minimum. But it's probably
way too strong. 0.013, five? Yeah, I'm going to go for
the multi direction walk right because that one just
seems to work the best. Okay, cool. So that will give us some general
darkening over here. I do have to urge maybe, like, add a little
bit more darkening, so I can go in my
Hcrum scan. See? I just, like, a little
bit more darkening. But then what I also want
to do is I also want to tone down the opacity
of my darkening a bit because I feel like it's
a little bit too intense. Now that I have that one done, I also want to go ahead and
add some white details to it. However, for the
white details here, if I go for just
like a grudge leaks, for example, something
super simple, I do not need, I do drip length. I do not need something
like really strong. So shape contrast down, drip crispiness can be down and the sharpness
intensity, yeah, that's fine. Yeah, so like something
quite interesting and soft. And if we add a uniform color, and this color is
going to be like most like a tiny bit yellowish,
but mostly just white. And throw this on
top. And now we can, like, play around
to the balance a bit, play around with the sat. Oh, I like that one. I'm just going to
go ahead and, like, add this as a very
slight softening. I do feel like that some of the shapes are a
little bit too sharp. What we could do
is we could steal our multi directional wb
gray scale again and just, like, use that to, like, soften out
those edges a bit. And now just play out the paste. It's just going to be a
subtle effect over here. And I forgot what we
did for the last one, but by this point, I like what we have. However, the actual general wood is still too strong,
it's too visible. So now what I'm going to do
is I'm going to look mostly at this effect over here. And if I can have a look
I would say, in general, we got that effect, but it's
almost like we want to, like, add an even bigger
blanket to kind of, like, tone down that effect. So if we have a look, so we already added quite a bit in, like,
a really short time. I hope that you guys were
able to keep track of it because I often need
to do this quite quickly because else I
forget what I was doing. So over here, we add our dust layer, which
is pretty good. What I'm going to do now, sorry. Can you speak is I'm
going to add a blend. And maybe I'm itty
going to just use my uniform color and
then use my opacity to kind of like tone it down.
Almost something like that. So I'm almost just itty
toning everything down. When I tone it down, of course, everything else was a
little bit balanced to that. It will change a bit. I'm also going to, by the way, let's just duplicate
this because I want to go ahead
and for color, if we pick color, I want
to go for something much more not yellow, darker. I'm just trying to pick a nice area. Let's try
something like this. Let's try a quite dark
orange color and then maybe tone it a little bit down to go a little bit more gray
scale. Here we go. And it's at the opacity around
0.3, something like that. And now I just like to
cycle troll my notes. So we have our blend, and our blend is now a
little bit too strong. So let's set this to 0.03. We then add some cracks. Our cracks can be a
little bit stronger. We then add some knots. Those can be a little
bit less strong again. Then we add some darkening. Again, can be a little
bit less strong. And then we add some whitening, which can also be
a little bit less strong. That's quite a bit. Let's go ahead and
grab these three. Oh, sorry, right click
and out of frame, and let's call this
one once normal map. Then let's go ahead
and grab all of these. Right click art frame, let's call these base color. I know that this has
been a long chapter. Please bear with me.
We're almost there. I'm going to do one last
thing and I'm going to create a very basic roughness map
just for previewing purposes, and then we can improve upon it. For roughness map, super easy. We are going to add a
Graycl conversion note, and we are going to convert a probably around this area just after we got like
some of the grains. Then we are going to
add the Hicrum range, which will allow us to
control our position, but more importantly, our range. And we are going to make
this like, Well, it's wood. So it's going to be
quite white because white means rougher
so less shiny and black means that it just becomes more rougher or less
rougher and more shiny, yes. And we then going to
add a few blends, and these blends are
going to be blending various noises that we already created. So let's have a look. So let's not do the dust, but over here, we are like,
adding some softening, and we can actually
grab the quanties of our softening and add it as probably let's
let's do subtract, because subtract makes it a bit darker and then just like,
tone down your paste. So there will be a little bit
more shine in those areas. Then what we are
doing is over here some very small details. We
don't really need those. Then we are adding
some of our darkening. Let's add that crunch
map. Set to art. So this will add some I will make it a little bit
more dull in those areas. Then maybe for our white areas, we can go ahead
and we can decide to subtract it to
make it a little bit more, subtract it again. Now all of this,
because it's boot, I often like to now add a blend. And can I just use this noise? I might be able to just
use my dust over here. But I want to add
a hist gram scan because I just want to add
like some general noise. What you see me do here is
I press D to dock my node, which just cleans up
my general graph. I have this noise. I'm
going to set this. It doesn't really matter, art
or subtract. Sets the art. Let's just add a little bit of this noise and throw
this into our roughness. We can go ahead and
just select this. Right click art frame Roughness. Awesome. Okay. What I'm going to do is I'm just
going to clean this up by selecting
these four notes and pressing this button up here
to straighten them out. Let's try again. Select
them art frame Opots. We are not done yet. This might feel like we are done because
I'm slowing things down. But no, we are now
going to preview it, and then in the next chapter, we are going to add all of the changes that
might be needed to make this a more
interesting wood. If I go in here, don't forget to set your abido back
to, like, a white color. I'm going to apply all of
my additional textures, which are going to
be the base colors and all of that stuff.
So we have a base color. Over here. And we have
a roughness over here. Now, if we let this render, this is currently
our base color. Doesn't look good. I
know. Don't worry. What we have been working
on is we have been working on getting the core
components ready to go, and now what we're
going to do is we are going to keep balancing them until we get something that is closer to what we see over here. So that's what we basically will be working in next chapter. If you want to have a higher
res look at your texture. So over here, what I will do for this one is I'm going to
go ahead and just tone down some of my lights because
they are way too strong. Over here. And if you want to get a slightly higher as
image, what you can do is, if I create a folder
called images, this is something that we'll
be doing in next chapter, but just to have already something to compare,
go to render. In the output, go ahead and set the images
as the image output. You can just set as a JPEG, and I'm going to call it 01. I'm going to set my samples to 512 because I don't
need it to be this big. And then I can
just press render. And now what it
will do is it will render a four k
resolution image for me in this specific
scene so that I can, like, properly zoom in and also have less noise
and stuff like that. So I'll pass the video
until this is done, and then we will end it there. Okay. It's done rendering,
if I open it up. You can see that
now it has rendered out a high resolution image, and we can exactly see the
stuff that we need to work on. So the core components are here. Now, what we're going to do is we are just going
to go ahead and actually start turning this
into a final wood material. So let's go ahead and continue with this in our next chapter.
13. 13 Creating Our Wood Material Part4: Okay, so let's go ahead and continue with our wood material. Now, this is where we left off, and this is basically
where we need to go. So if I see this, the first
thing that I notice is that the colors are not whie. Also, the occlusion is way too strong, but
I have a feeling. If I look at my
wood material here, I have a feeling it's simply us having the occlusion
way too strong in here. So like wood would have almost no occlusion on it because it is quite
a fine grain. So that's an easy change. That's literally
already changed. So let's have a
look. Now, I'm going to say that now over here, these areas they are a
little bit too pink, but you can see that
they are looking pretty close to what we want to. Maybe I want to have
a little bit more breakup O can see more of a directional breakup in these type of little
grains over here. Also, what I see is,
although it's a little bit tricky to know that the
differences in color, they are all a little
bit more warmer. Here, it's still a bit hard to see we added that difference. In here, here, somewhere. Here we are like the difference, but it still doesn't really show up the way that I wanted to. Let's just go ahead and
address one by one. The first one that I
wanted to do is that I have over here
these pink colors, and I think somewhere
along the lines, they changed and they
became way too pink. So let's go ahead and
tone those way down. So we just want to
have a little bit of a pink color over here. Cool. Now the next one is going to be that over here we
have these colors, and what I'm going to do is in my gradient map, I'm
going to first of all, because we only have a
few gradients going to remove by just pressing delete
some of these gradients, and I'm keeping a
close eye out to make sure that it doesn't make
any drastic changes. This way, I have more
control over my gradients. So if I just go ahead
and there we go. That's the one that I definitely
wanted to get rid of. Now, over here, I
have like this one, and I wanted to go
for, like, more. No, it's not that one. So you always need to figure
it out which one you need to pick. There we go. Okay, so that's going to be a little bit more like
a stronger orange. And then I also want
to have, more of like a deeper brown orange somewhere
along the lines of here. Let's delete this one. Ooh.
It's a little bit too strong. But it does work. It
does give me roughly, as you can see here the
effect that I want. And then I'm just
going to I don't know, do I need to tone it down? I feel like it's not so
much about toning it down, but more about, like, the shape. One of the colors is a
little bit too white. So if I go ahead and
just double click here, is it this one? Yeah, this one. Let's tone that
down a little bit. And now, see, now the colors
blend a little bit better. So we got that one done. And if I just go ahead and
switch back over here. Okay, so that
already looks like a little bit softer and
a little bit browner. Now, the next thing
that I'm going through, so yeah, okay, so
there was like, I want some actual
more directionality in the brown areas. And for that one
because that kind of comes from this area. I just need to have a
look because I do kind of have this directionality.
Like, I'm not sure. Yeah, I feel like actually,
it would have been nice, but I feel like that we would
actually add more damage than something good if we add that additional
directionality. I'm going to temporarily, just because I'm not
really a big fan of it, I'm going to go ahead and turn off let's see which one,
this one over here. I'm going to temporarily
turn that one off just so that
I can really see the raw wood that we had before. This is like the raw wood. Now, seeing this wood, I really like these
areas over here, but I don't really
like the warping that you can see over here. So it feels a little
bit too cliche almost, it just doesn't feel
as natural like wood. What I'm going to do is I'm
going to try and make those a little bit more stretched out. If we go ahead and let's see, we need to go all the
way back to basics. So we have this one, and
over here is these areas. The reason that it's not so good is because
these areas look like they are too white
or sorry, too dark. What I can do is I can add a blend over here after our
blur high quality grayscale. And I'm going to
add a transform. Now with this transform, I can just simply move
it a little bit. By the way, I can remember that I did something and I
didn't make it tilable. But if I look at my texture,
it looks pretty tilable. Yeah, so I guess you can always press space to just double check if you feel like you
forgot something. Anyway, wood crates. So what I can do is I can go
ahead and set this to Max Lighten and that's what kind of art these two
together over here. And I feel like let's
see if I break that up, does that break it up enough? Okay, so now we have
some more longer. Yeah, I can go ahead
and play around with my opacity to see here, see. And I can kind of, like, control it a little bit
better with our wood. Yeah, so yeah, definitely, this is better to
control. So let's see. So if this like the large one, let's just slowly go until
I get to a point that I like somewhere along here. And one thing that
I still do not like is over here, these areas. So what I'm going to do
is just kind of easy. If I have this area, let's make our
window a bit bigger. I'm simply going to
go all the way to my tile generator
and play around with my random seats in
the hope that I can find something nicer, like this. This one looks nicer. See? Sometimes you just have an annoying shape
that you don't like. I quite like this shape. This shape is looking
quite cool over here. Now, another thing is that we can well, it doesn't
really matter. Like, you can
rotate your texture around if you prefer
previewing like that. You can do that all the
way at the beginning, but that would have been that
would be like, such a pain. Instead, what we
can do is we can simply just add a
transform over here. Oh, sorry, let's
do actually save. Transform over here,
dock it and just set the rotation to like
90 degrees like this. I can also go over
here, save transform, dock 90 Let's go over here. Save transform gray
scale in this case, 90. And now you can see that
I skipped the norm map, and the reason I did
that is because I need a normal transform
for that over here. Because the norm map
flips when we go here. So if we go 90 or do we need
a normal vector rotation? That can also be
one that I can use? Let's see. Normal
vector rotation. Where are you over here? And open GL, see if
I do this one to 90. Oh, no, that just
does the vector. Fair enough. For some reason, I had in my mind that that
is the one that I needed, but a normal transform
should be fine. It's just a bit tricky to see
which way I need to rotate. If I go here, 90 CCW
or 90. There we go. 90 CW. And just double check, but your no map should
still be correct. And you can just double
check by clicking on this one and just making sure that the colors go in
the right direction. That seems to still be fine. So now if we go
back because now we have our wood going into
a different direction, which just might be a
little bit nicer to just in general for just
previewing purposes. So, okay, so we got
this wood over here. This is still quite
intense, to be honest. Yeah, that is that is annoying. I just don't really
feel like and now the directionality feels like even less because
over here we had, like, the directionality going on, but now it doesn't really give me the impression
of the directionality. So I might just go back
and forth between this, but let's just quickly
try the original one. Yeah, it's better to read
directionality this way. I'm now going to use this direction just because
it is easier for me to read. But now you also
know how to do that. That's why I leave in these
type of small mistakes. If I make a wi big
mistake, of course, I would not waste
your time too much. Normal map. Let's have a look. I feel like if we go ahead and have a look
at our normal map over here, let's see
what's this one. This one is our grain. I mean, the no map
should be fine. Like, I do want to definitely make it a lot
rougher in my roughness. Maybe make the no map
like a tiny bit more, 0.13, something like that. Just a tiny bit more. And
now what I'm going to do is. I'm also going to do like
a large color balance at the very end over here. So we now have this wood,
and you can see, like, if we look at the base color,
the wood is looking nice. Like, it looks cool. I still feel like these areas
over here like too large, so I might just want to go in and see if I can
use my blending. There we go to just minimize
them a little bit more. But what I was saying
is I can now do a color replace range over here. And this time because the wood is also a
little bit more even, it's a little bit easier for me to actually change the color
because you can see here, if I set my source
color, my target color, it actually manages to do a color range on everything while when we did it over here, you can see that it
has a lot more trouble to gain all of the colors. So what I can do
is I can go ahead and just set this color. Now, I cannot really rely on this image by just
clicking on it. Instead, what I will do is I will simply look at the image, click on my target color and do an overall
color balancing. I feel like it needs to be a
little bit more darker and a little bit more grays
girl, something like this. See? It's subtle, but it turns it from
feeling a little bit too saturated and cartoony
to just something that looks a little
bit nicer and softer. So we now have this, and what I want to do now is
I'm just going to focus a little bit more on my roughness because I feel like
the roughness is this perfectly flat roughness. There's almost nothing going on. I don't like that. So over
here we have my roughness. I'm going to just go
ahead and play with my range a little
bit more first, and then I can play
around with my position. I'm going to make this
quite white over here, but I also want to give
it quite a bit of range. It's twice something
like this, yeah. Next, we are going to add looks just like some
additional brightness, maybe set this brightness
to add instead of subtract, just to increase it. Then we have the brown color, which we are going to
redd back later on. And then we have these
additional colors over here. I'm now going to go ahead and do I need, like
a sharpen note? Sometimes a sharpen
sometimes sharp note just adds some nice
roughness variation. I got this what
do I want to add? Maybe I want to add just a classic
which is literally just adding in grunge map. Let's say, like a
directional grunge map. Maybe like something like
this and simply add it. Maybe play around
a bit more with your contrast and
balance over here. Play around with
your set to get not the most typical
looking grunge map that you have because
everyone knows the defaults. And let's go ahead set it to multiply and maybe like Yeah, let's add like a little bit. There we go. Just a
little bit extra. And if you want,
you can also dock it so that it looks
a bit neater. As you can see, over here, I'm trying to keep this
material really simple. I can go like, double as large and really go
into the fine details. But for tutorial, that
would not be beneficial, so I will leave that to you. So I don't want to, like,
increase too much more. Like, I feel like we
have a solid wood, like we have also over here, like, knots and stuff like that. I kind of lost my
train of thought. There was something else that I was going to do. Oh, yeah. I was going to art B that brown color over here and let's have a look
what it looks like now. So this one looks
like I think I'm just not going to have
it as intense as in our reference over here and have it more like
a color variation. I feel like this really
strong brown color, I can always and also
the white color, I can always add that in
our actual final texture. That might be a little bit
easier to do it that way. So for now, that's pretty good. Yeah, we can also later on, I will add another
chapter where I go over optimizations
and I can also go over flexibility
in our material by adding options for a painted
wood and stuff like that. But I mean, we don't really
need a painted wood. But I will add some options
for a more damaged wood, we can add heavier grains and stuff like that just to make it a little bit more visually interesting. Let's go
ahead and have a look. We got this let's go into Mum'set and this is
what it looks like now. So we are getting there. I still feel like it's a
little bit too saturated. Now, take that with a
grain of salt because, of course, it will look
different inside of unreal. But just to make it look
good inside of Mum'set what I'm going to do is I'm going
to go to this colery place. And actually, you know what?
No, I want to make sure that because my first
light over here, it has a yellowish color. So I'm going to maybe make
that light a little bit more whitish over here. But of course, when we have
our sun in our environment, it's going to be like
quite a yellow sun because that's just the type
of weather that we have. So let's have something like
this. And now let's go in. Target color and maybe I feel
like the darkness is fine. Maybe just make it like a tiny bit browner
and darker here. Like, it's a little
bit more duller. And also, I feel
like my over here, my leeks, I want to make the drips like more crispy to make them a
little bit sharper. I feel like it will benefit if things are a
little bit more sharper. So let's set the crispiness and the sharp intensity
just like all the way up. And I also actually don't
like this seed anymore. So I'm just going to, let's
do this. Tone it back down. So that's just going to be like some additional color variation because I just wanted to
tone everything down. Okay. The whiteness is now too strong, but I like the wood color, and I feel like the grains are also a little bit
too strong now. So I'm just going
to go ahead and set the whiteness a bit down. And so, yeah, these
grains are a little bit too strong and they come all the way from over
here. In these areas. Now if I go to my gradient map because this is of
course a dangerous one on how to edit this, I could use this one to
basically tone it out. I'm really worried to editing the color now after we've
done so much to it. What I might want to do is I
might want to use Are Blend. And I might want to use this mask and then use the most plain color
I can find over here. Actually, no, it needs to be like I need to
literally just grab a super plain color and use that one like
this.'s have a look. Okay. And now I can it's
just a little cheat to maybe copy it and if
I go look all the way at the base and then
keep copying it. Let's see, before, after. That does add some
lightness to it. Yeah, you know
what? I like that. Okay, so I feel like my
norm map is too strong. These quacks over here, they do not feel natural log and they feel like they need
to be straighter. So let's go ahead and
make my norm map. Back to zero point. Actually, no it even
less 0.08 because now the norm map stands
out a little bit more since I have
been working on that. How are the knots? I just need to wait it down
here you see like a loading bus so that I can
sort of see what I'm doing. I'm going to make knots, no map a tiny bit stronger.
So let's do 0.15. And then over here
we have our lines, and our lines were being
bended too much. So let's see. So here multidirectional
grayscale. Let's just tone that down. There we go. So we are
basically softening that. And then we are wanting to, like, tone it down again. A tile generator, maybe, like, play at the
randomness, even less. So I'm just gonna make this,
like, really, really thin. Yeah, I just want to make
this like super thin cracks. Let's have a look at that. Okay. You know what
I'm going to do? At this point, I'm
going to go ahead and I'm going to save my scene, and I'm going to
make another render. So that we can have another
proper look at everything. So let's just go
ahead and go down here and press Render Image. But I think that we
are doing really good. If you can see that this
was our previous one, and this is what we
have now, like we are slowly getting there. It's just gonna be
like some small color balancing here and there. And, I don't like the lightness. You know what I'm
going to do? I think I'm liti gonna get rid of it. I feel like that it would be better if we just add that
in our unique texture. What I will do is if I just
make this really strong, I can go in and I can leave it so that we can control it inside of
substance, basically. So here we have some lightness, so I will leave it like this, tone it all the way down, so
we're just to get bid of it. But then inside of
substance painter, I will expose this slider
so that we can use. So we have this. I'm going
to go ahead and have a look. So it is done now. Here is our original where we started 20 minutes ago, and
this is what we got now. I think you can see, just a bit of balancing. That's why I was talking about, it's all about having that core, having the base over here. Now, at this point,
I quite like this. It looks tiny bit stylized,
which I actually really like, so I feel like it will read
really well inside of reel. So at this point, I feel like that we
are at a stage, well, except for removing the
white and balancing out my how do you call it, lighting a bit. That
is pretty good. One thing, however, is
that our knots over here. I feel like that the color
blending is not working well. This most likely because it is, like, blending these colors, these two colors probably
together or not. Yeah, I think they are That
is actually a tricky one. What I will do is
I will probably blur the color below
it a little bit. So if I go add a blend before, and if I then like a
blur high quality color, just going to blur all
of this a little bit. Throw this into the top. You
can just press D to docket. And now I'm going
to grab this mask, and I'm going to add a
histogram scan like this. And then I'm going
to add a blur. Like this. I know, I don't have a lot of space,
but I should be able to just dock it so that it
looks a little bit nicer. Let's see. So we now blur it, and that will hopefully make everything come out
a little bit better. And of course, another thing is like I am, of course, owight. That's the wrong
one. I'm, of course, also using the Opaste. So what I might want
to do is I might want to instead of lowering
the opacitie, simply grab a uniform color and simply make sure that the color is in the direction
of the color I want. So instead of lowering
the opaste here, I'm just literally blending it using already the
correct color over here. And let's have a
look that might, hopefully, Look a bit better. Feel like it didn't
really update, but give it another second.
Okay, now it's updated. Okay. Um, I'm going to make them a little
bit more saturated. Because I feel like they stand out a little bit
too much right now. So let's make them a little bit more less saturated, sorry, less saturateed like this and
maybe a tiny bit lighter. Yeah, let's do
something like that. I just wanted to be quite subw. Now, another thing that I was going to do is I was going to, like, slightly
improve my lighting. So I can hold so shift and just, like, rotate my sky out. I want to basically
have a dark area of my sky in like the base. And next what I'm going to do
is I'm just going to well, move this light a little bit out of the waste that I can
see what I'm doing. And then in my transforms, I'm going to go ahead and
it's a bit difficult, actually, to see. Let's undo it. And let's see if I can just I'm going to make my brightness
really strong this way. I can at least see
what I'm doing because it's such a subtle material. I always like to have
the main light to only cover roughly like
half of our shapes. This works better when, of course, we have a
shape that has, like, a lot of interesting, like, hyped details and everything. But for now, fine. And now these lights over
here that I lowered, I can now that we have
a better version. I can push them back a
little bit over here, just to bring out
a little bit more of those roughness highlights and make sure that
everything works. And that's pretty much
it. I can see that now that I'm bringing out the
rough roughness highlights, sorry, that I don't
like how they are. Like, they are not
strong enough. So I can now go in here
and I can see like, Okay, so here we
have like this one. I'm going to instead go for something a
little bit more extreme, which is this version over here, which allows me to hopefully
get like stronger grain. Yeah, let's see if I
just look at the final, let's push this all down. Let's see if this
is not too shiny. That's too shiny. Like,
we now get the grains, but now it is too shiny again. So we need to, like, try
and find a good balance. Maybe if I go, like, extremely
intense like this one, that does give me, like, a
really strong variation. Yes, I like that more. See? You can see that there's just a general
additional variation. Also, there is some
lightness still going on, and I feel like it's because I'm grabbing the
lightness from here in my roughness and that's one is causing the roughness to
show up a little bit still. I just tone that down a
little bit occlusion, how is our occlusion doing? A tiny bit is fine. I guess this
lightness is more for my color. Let's have a look. How does that look? Ah, it
is a bit tricky to see. If I just compare it to
last one so this last one. So I quite like it like
it's quite subtle. However, for the roughness, we probably want to go ahead
and wait until we are in real because it's a little bit tricky to know how we
want this roughness to be. Like, you can see over here
like the roughness is good, but it's just like this
randocen in general, it is causing some
slight effects. Like, I can go ahead
and here, I can, like, increase my embit clusion to bring out the
shapes a bit more, but I feel like that it gets construed as being part
of the base color. That's why I don't
really want to do it. But I don't want to make the norm maps and stuff any
more intense because we are, of course, send it nicely. So I'm just going to go
ahead and leave it here. I'm going to save my scene. I'm going to go ahead and
make one final render, make sure that everything looks nice and
high quality. Yes. So let's go ahead and do one final render and then
just admire our work. And then in our next chapter, we are going to go ahead and
I'm going to first of all, explain to you the
concepts of, like, improving your graph speed and Mult going to explain to you the concepts of, like,
exposing parameters, and I'm going to maybe like some additional damage to just make your wood look a
little bit rougher by, for example, adding
switches so that we can make the
wood look a little bit more like we have over here. That would just be nice
for when we are texturing our assets to have that
extra bit of control. We could do this control
inside of unreal or, sorry, inside of subspainter. But since we're in designer,
I can just as well show you. And while I was talking, the render is almost
done. There we go. It is done. So not
a big timeline. For more complicated materials, we sometimes have
like 20 images, and it's really cool
to look through. But we end up with this
one for our first render. Then we switch to this one, and then we make
the small change over here, as you can see. I feel like I don't like
my lighting on the change, but I like everything else. So I'm just going to
go ahead and yeah, that's just my mistake that I just messed up the
lighting a little bit. So I'm just going to do that. See, is there anything else? So, so I just toned that down a little
bit more. I is fine. I also not too happy
that the grains do not completely go around
these knots over here. Yeah, I feel like
actually the first one, in terms of the lighting
and everything, the first one was actually before was funny enough better. So that's just me making
too many changes to it. So just gonna make myo
tiny bit more stronger. And I'm just going to
have a one last look. I know I know I work over
time and stuff like that. Just gonna have one
last look at, like, how my warping over
here is going. Yeah, I don't think
the warping really is going to improve
much more than this. Like we are already
pushing it quite a bit. So I think that is fine. I am curious just for fun. So let's see. Here we are we have our shapes, and then
we have our knots. They're quite big.
Yeah, what you can see, I'm almost tempted to
literally just, like, move all of my knots,
like a little bit towards the left hand side, but I feel like that would just be a bit messy doing that. So instead, I'm just going to leave it like it is right now. So I now, made some
small changes. Again, let's go ahead and see if I can create one last image. Okay, so let's have a look. One, two, three, and four. Yeah, I think that is
looking quite nice. Okay, I'm going to
leave the wood here, it's definitely not a final portfolio or anything like that. But because I don't
know which changes I will need to add until I actually use the wood real
and inside of context, I'm going to just
leave it off here. So yeah, in next chapter
I already told you, we're going to go ahead
and work on optimization, exposing parameters, and adding some
general improvements. Let's go ahead and continue
with that chapter next.
14. 14 Optimization And Exposing In Substance Designer: Good morning, everyone. Or at least for
me, good morning. So what we're going to do in this chapter is we
are going to finalize our wood graph over
here and I'm going to explain to you how to
optimize the graph and also how to
expose parameters. Now, the reason that I'm going
to go over this because we are going to use these textures inside of substance painter, and to use this
substance pattern, you always want to optimize
your graph because every time that you change
a value over here, I would just simply change
the color a little bit, it needs to run through the entire graph in order
to change this color. So what I mean is,
well, not this one, but let's say that over here, I change something in
the style generator. What will happen is as
soon as I trigger it, by the time that the
change has happened, it has to run through
all of these nodes. Every node over here,
as you can see, has a millisecond
attached to it. This is how expensive
it is to render. Now, you can imagine that
over here, of course, two milliseconds, ten
milliseconds, it's not a lot. But when we start going
through our entire graph, if you have a very large graph, it can take up to one, two or even 3 seconds or
more in order to basically, um, generate this
one single change. That's why you want to
optimize your graph. So like I said, I
already touched upon it. Every single node has a certain
amount of milliseconds. These milliseconds,
most of the time, the defaults are fine, but sometimes you can optimize them. You can optimize
them often by using, for example, here, you
can see difference, if I go to blur high quality, right now, I set the
quality to zero. If I set this to one. Normally it increases
the milliseconds. Let's try again. Let's do blur high quality gray scale because sometimes it doesn't
always update perfectly. If I go, I had to go over here and set this
one, here we go. This is a little bit better. Now what you can see is that here is the
difference between the blur with quality set to zero and blur with
quality set to one. You can see that wait, I just need to set the exact same value
over here. Here we go. You can see that there's no visual difference
between the two. However, it is more expensive. This is one of those
perfect moments where I can just
go ahead and keep the quality at zero in order to lower my mi seconds amounts. Now, next, one of the
biggest things that will grab the mini
seconds and slowness, are noises over here. So when you can, if you can lower down the
resolution of noises, it is always quite beneficial. So if I just go ahead
and go over here and I'm not going to really bother about most of
the green values, you can see that they go
from green to yellow to red. So if I go over here, you can
see that this one is red, and you can see how
much it will take. Like This literally
takes half a second just to generate this
one note over here. So what I like to
do is I like to go ahead and go all the
way to the front, and I like to basically just
analyze all of my notes. Here, we can see that
these notes over here have quite a bit of milliseconds. However, these are
very, very important. So I'm not going to
do anything to them, since we really need
all of that resolution. I can just go down here and
here you can see that these are 12 milliseconds for
clouds is totally fine. Here, however, we have
this one, for example. We have another Clouds to
that is 50 milliseconds. However, what we can also do is we can also go
ahead and create a portal node and set this portal to be
our basic clouds two, as you can see over here. The only difference
really between these two is that the
scale is set to 16. If I create this portal
node and then create a transform to D, for example, and I set this to, like, one, two,
three, four, five. You can see that this
is quite different, like it just jumbled
around a bit, but you can see that this
actually makes a really, really large difference
when it comes milliseconds. So we are saving pretty
much like 50 milliseconds. Now at this point, what
I can do is I can go in here and see if it
makes a difference. If I hold Shift and
switch this around. Okay, so here I can see that it makes quite a big difference. What I can do instead
is I can decide to do a slightly different
type of tiling, and that is a make
it tile patch. And let me just have a look. So this one is 24 milliseconds, if I just plug this
in here, here, 28. So this one, it is not as good, but the nice thing about
this is that if I go ahead and set my mask
position to be up, and I'm going to
go ahead and set my octave over here
all the way up, you can see that I
can control tiling. But the key component is now
I can change the rotation. And you can see that that and same with variation
and disorder. Okay, let's not do a disorder. But you can see this way, let me just try and
make my masks a bit sharper over here. You can see that we get quite
close already to, like, the final result while it's still saving because
we are now at 16, maybe one more while
it's still saving this zucchini now go
ahead and go here. Of course, changes will happen. It's up to you if
the change is here, see this change for me is small enough that
I do not notice it. And just like this, I have now saved pretty much
like 30 milliseconds. So like this, it's more
about experience like what you can save
and what you cannot save and just trying things out. But in general, this
is a good way to start saving a lot of the
t seconds that we have. Now, as I said before, most
of these are often fine. The green flood fills
are really expensive, so try to avoid
using them too much, but one flood fill over
here is totally fine. So with this one, for example, what I can do is I could go, let's see, because I'm using a flood fill for
random grayscale. Yeah. No, you know what?
No, I'm not going to replace this one because
it's a vector map. Normally, you can
replace this one by just adding your if you
go down here by adding your luminans in
your generator and then adding a hist grab scan to push it back into white like
we've done this before. But for now, since this goes into a vector map,
I need this note. So these are all totally fine. Let's have a look.
So here we have a moisture noise that is 19. Another great way to
optimize things is to literally reuse
the same noises. So I want to kind of
make sure that if I use a noise twice that I'm
using it from the same output. But it looks like over here, this is all fine like here. See these are all quite cheap. Yes, we have the blur, but the blur is often
quite cheap to use. And over here we
have these nodes. They are really cheap, but technically because
it's a plain color, as long as the plain color
inputs into the top, so it gets added on top and
it is not like core node, what you can do is you can
go ahead and go up here to the output size and just
lower this quite a bit. So I'm going to say it like two, five, six, or maybe even lower. Here we go, 64 by 64. Now, you can see that
nothing changes. However, if you ever do this while the input is
the core input, you can see that your node
will also change resolution. So make sure that your core
resolution stays the same. So let's say minus six. I can do that for all
of these minus six, minus six, And over here, on purpose, like, made all of these colors
slightly different. So I do want to actually keep
them and not combine them. It's also not really worth combining it because you can see 007 milliseconds,
like, that's nothing. So that is totally
fine. Here we go. Now, of course, double
check that all of your core notes are still
four que resolution. So you can see that most
of this is quite cheap. We have over here
like a Grinch map, but it looks like we are using this grind map quite intensely, so I do not want to change it. This one, however,
I'm not happy about. Like, I know that we are like this white stuff over here,
and I just left this in. But this note over here, it is way too intense,
as you can see. Now, you can go ahead and
turn on non square expansion, and that we'll optimize it. And for some reason, it is a little bit
confused, I think the note. Should double click on it. Sometimes you just
want to wiggle around one of the
values to know. Okay, so now for some reason, optimized when I turn off
the non square expansion. So that will lower down
the node quite a bit. And I don't know. Is that, you know what? I will just
leave it like that. So this note, also, if we
have the opacity set to zero, it should not always read because it should
be able to just read through this node since
we aren't changing it and not cause for
any extra delays. And all of these notes
are also totally fine. Over here, we have our ambient
occlusion rate raising. Now, with this one, you can low down your
samples basically to here we go to get a
more optimized version. Or what you can
do is you can use ambient an HBAO over here, which is a lot
cheaper to render, though I don't know why, sorry, turn on GPU optimization. Oh, okay, fair enough. I guess it is not that cheap anymore. Maybe they optimize it. Like, it's a little bit cheaper, but it's not enough for
me to really bother. So you can see that the
quality difference is quite a bit different because this
one is using rate raising, so it's a lot more
accurate while this one just kind of calculates
based upon what we inputs. So I'm going to just
leave my graph over here, and I would say
that now the graph is pretty well optimized. The next thing that I want
to do is I want to work on the exposing of my values. Sometimes I just want
to expose a bunch of values so that I can use
them in substance painter. You can find these values by
going into your master wood, and then over here, you
have often your parameters. Now, when I say exposing values, what I mean with this is
that I can literally, control some of these
settings that I have here inside of
substance painter. However, you cannot control every single setting
because then substance painter would
become way too overwhelming. So let's say that over here, we have my tile generator, and I want to expose the wire
amount to basically make my wood very white or make it
very thin, stuff like that. I can go to the
little button next Ts and press expose
as new graph inputs. And in here, I like to give
it like a logical name. So I say grain, underscore.
Thickness, probably. And I want to copy that
and also place it into the labels because the label
actually shows the name. The identifiers is like
an internal thing. And for the group, I like to
add it to the group grains. So I'm going to create a
new group called grains, which means that I can make
it nice and organized. Changes the thickness of grains. Of course, you can
keep doing this willy willy how you say it. Detailed, but I'm personally
not going to do that. I'm just going to go
ahead and show you once, and then I will do it
a little bit quicker. So now going to go
ahead and press Okay. Now if I click back and forward
back to my master wood, you can see that now I
have my grains over here, and I can go to preview, and in the grain step, I have my grains up here. I'm not going to go ahead and just yet change these values. First of all, I want
to just go ahead and cycle through and see
whatever I need to change. So over here, this
one is a good one. I got exposed to this, and
this will be grain Edge, break. Do it over here. I'm just going to
remove the description and also artists grains
and once get press. Okay. Note, that's where
we expose something. We can no longer change it
inside of our substance graph. That's why you often
want to do this at the very end when you are
already done with your texture because it's a bit annoying to keep meaning to switch back to this view because you can still control all of it in here. So these are like the
default settings, so you can still in
your Premos control all of these settings if needed. Now I can go over here
to my tile generator, and I can save for this one. Grain lines. Large. And once again, just drop down to grains. And I can also go in this one, expose green lines small. And if you want, you can also
use these values over here. The mini max to
clamp the values. So right now I can
see that over here, my grain lines like the
amount is set to 70. And here the minimax
is set to 60. So what I can do is I
can set the max to like let's say let's say 100, which will make it
a bit easier to just drag in my slider. If it is, for example, 60 and you need it to be 70, you can always type in the value inside of substanPainter
and stuff. Let me just also quickly go
to this one and set this one. Sorry, that grains line large. Also to 100 over here. Okay, cool. So we got
these ones done over here. This breakup over here
might also be nice. And I think let me just play road with the Hcrum scan to make sure that
this is the one. Yeah, so the position
of this Hcrum scan. Grains size. Blending. Let's call it this
one over here, that's okay. So now that will control
the size of our grains. And this over here, there's
just some balancing and like, yes, we have these
lines over here. But what I'm going to do is
I'm going to actually create a new type of line on top
of what we already have, and we can use
that to basically, like, break up our
wood a lot more. Now, over here we
have our knots. There isn't much we need to do. The only thing that
I want to do is in my knots over here. I want to scroll down
to the random mask, and this one I can
expose and call this knots amount and set the group into
grains and over here. There we go, that controls
like how many knots we have. This one is just a classic. It's just going to be
Wood, normal strength. Copying label and in
the group over here. And then this one over here, I can go ahead and
say Wood knots. Mm hmm. Strength. And I'm
going to go ahead and also places into the normal over here, so that
controls that one. Now, over here, we have
arrived at the colors. So in the colors, there's quite a bit of stuff that
we often want to change. So if I have a look, I
can go ahead and say, because yeah, I'm using
this color over here. I'm not sure if I want to change my colors of my wood back here. I think I rather want
to change it up here. So what I will do is I will
go ahead and say, see. Is it this one? No, this one. I'm going to expose this one, and let's call this
one grain line. Darkness maybe. And once again, let's go ahead and
set this This time, actually set this to color. And let's go ahead
and press okay. Let's see. So over here
we have a blending. Just going to go
ahead and say, like, large colo Landing like this. And of course, I'm doing
this now really detailed. I might not do the same stuff with the wood or the concrete
and stuff like that, because we will
probably not need as many value changes for that. So over here, I'm going to
go ahead and call this one, and then probably want to
do it with this, I think. Yeah. Expose this one. Dust amount in color. And this one I'm going to go
ahead and expose and call this dust color. Like this. Then over here, what
we have is this one. Actually, oh, yeah, this
is just like a balancing, but I'm just going
to leave that. I don't really feel like I
need to do much for that. This one is expose this. Extreme color. Plants. Extreme color
blends. Let's do that. Once again, set the color. Okay. Then what
we have over here is we have a very subtle one which we can pretty much just leave because I don't really know as much
of a difference. I think this is just like our
knots and stuff like that. This one, I will call grain darkening don. Color. And then this one I will
call green Lightness. Done. Also in color. And finally, we have this one, and here we are going through. Overall, Color. Let's do just overall color. I forgot if overall is what
one or two in this context. Let's just do this. Also
in color and press okay. Awesome. The last thing that I need to do is I just need
to go ahead and go in here, and I need to expose
my position and say base roughness amount. And let's do this in
the group roughness. Over here. And then
we are blending it. Yeah, I kind of need to, like, blend all of this
stuff together. Maybe not that one, but
let's just go ahead, and this is what? This is like Grain, dark, nk roughness. So, of course, I
also don't want to overwhelm our graph
with too many inputs. This one is I will expose it. Grain lightness, roughness Let's go
roughness again. This one, it is the dust. But I'm yeah, I can do that. Dust Roughness. And then this one is just like Crunch Adle roughness. Okay. Sorry if that took a bit long, I'm never really fast when
it comes to typing all of this stuff because I want
to make sure that it's fine. I'm going to leave it as this. I'm going to go at
the save machine. And now what we can see is if we go ahead and let's say we go to our base color over here, you can now see that now we have all of these
parameters here. If we go ahead and
go into our presets, a cool thing is that we
can create templates. So what I want to do
with my default I can say default score Wood, and I can type in the
label and then press new. This is why I didn't
want to change anything because now what you can see is that now we have
this default wood layer. And what I can do now is I can, for example, do another
one called testing. And then press new again. And now you can see that
we can easily switch back between the default
wood and the testing. So if we now go into
the testing layer, I can go in here and I
can very easily here. If I go, for example,
for my grain, thickness amount if I
said it is lower, see? You can see how
instantly changes. See, I can make well, I can really break the
woods if I want to. But you can see how it can
make my wood very easily, like thinner and
thicker you can see how quick it because we optimize it, how quick that everything goes. I can say, like
the grains large. I can make it like
smaller or really large. And the grains small, I can also go ahead and,
like, over here. So now it looks more like let's say that let's make some
plywood, for example. Plywood has often like these really large grains
that you can see over here. It's like, often quite
a bunch of knots. So what I can do is
I can go over here, like art a bunch of knots. And then what I can do now is I can go ahead
and go to my color. And let's say that our overall color is going to be plywood, so it's going to be like
this really like you know, like yellow type color. I'm just, of course, guessing, this is just for
testing purposes over here. That's
like the plywood. I can go ahead and let's see, do I want some grain? Now, let's low down
the grain darkening. Extreme color blends. Let's make that one a bit
stronger, for example. The dust, I can go ahead and
make the dust also like, Well, you can play around
with the dust if you want. Large color blending. Let's tone that down so that we bring out the grains a
little bit more, and the grain darkness, let's also tone that down. So now we bring out
grains even more. Let's make this like a
little bit more yellow. Something like this. So you can see how I get very quickly. Control everything I want. So I can make my
normap a bit stronger. And then in my roughness, I can, for example, just click
on the roughness, and then I can go back in, and now you can see that it
will save my setting still. When I want to
completely save it, I want to press Update and then it will
completely save this. So I can actually call this
plywood just for fun. Sorry. Plywood. And just press new. And now I can go ahead and
go to testing. And in the testing if I want to, I can just go down here
and delete the preset. And now you can see that this is like default wood go over here. Preset default wood and
now if I go to plywood, you can see that
everything is still safe. So now we have a plywood over here, and let's have a look. So if I just go into my
roughness for plywood, I want to probably, set
the base roughness amount, be a little bit darker. And just like adds and ies. Now, remember how it has
been out or exporting. So if I now go ahead and go
into Mama set over here, you can see that now it has changed to our plywood material. And just like that, we very quickly change the type
of wood that we have. So that's looking
really, really nice. So we are able to, like, really quickly change
the type of wood, of course, like,
it's not perfect yet because you would want to tweak the settings and
maybe add some more. If you want to make plywood plywood is so
different from other woods, you wouldn't probably
do it this way, like you would just
properly make a plywood. But you can see how
easy it is for me to, like, let's press update and
go back to our default wood. Now we are in a default wood, and it will just export
and there we go, back to our default wood again. Okay, so now, the last thing that I wanted to just do is I wanted to have a look and see if
I can maybe mimic a little bit just like a damaged arden that you can
see over here with, like, these really
strong lines over here. So, let's go ahead
and have a look. I don't want to spend
too much time on this. So what I want to try and do, I'm going to artist let's see, do I want artist after no map or I'm just thinking if I wanted to be no map
album or a grain album. I think I wanted
to be no map dum, because in nomaps
it's a bit easier just to just art stuff on top. Now, let's say that we have
our Grange map 005 over here. What I'm going to try and do. Don't know what this. The reference data
has some warnings. That's weird to come from a grunge map because grunge
maps are, of course, made exactly for substance, but okay, should still be fine. So what I'm going to do is I'm just playing out my contrast. And balance until
I get these lines. Then I'm going to
go ahead and go to my transform and I'm just going to go ahead
and hold shift. And I want to kind of
make these quite long, like you can see over here, and maybe say minus two
over here, see? So you can see how
I'm just really quickly mimicking the effect
that we have over here. I want to also probably make this like a little
bit thinner over here, something like this. Okay. I then am going to blend this and do I have,
like, 1 second. Let me just make
some extra space. I will just go ahead
and blend this using I need something
that's quite soft. So if I just do a blur
High quityGrat girl. Sorry if you hear noises. I'm just, changing
the way I'm sitting. And I know that we have a ground map over
here that's directional. Maybe this one, this one, maybe. Let's try this one over here. And let's just go
ahead and, like, really blur it quite
extremely and arts on top. And you said this to art
and maybe add a histogram scan behind it just to give us a little bit more control
over how much we want to, like, fade in and
out as she can see. I'm actually, you know what? I don't really like
that one. Let's try instead. Let's try this one. Let's see if we
can just do this. Position, contrast. Yeah, that feels a
little bit more natural. And if I just go ahead and set my contrast a bit higher and just go over
here, there we go. Cool. Now, if I press space, you can see that this is
currently not tilable. This is because we
stretch it out using the transform to D.
So what I'm going to do is I'm just going
to be lazy and add a make it tile photo
gray scale over here. And then splay out with
your warping until it feels a little bit more natural. The V, we can just go ahead and turn off
because we don't need to tie it on the vertical
size or the vertical areas. And then the
precision over here, That's just like we just need to figure out what looks nice, something like this, maybe, because by the time
that it gets over here, you can see that it becomes
a little bit more noisy. I can then add a normal
note to this, OpenGL. And let's see if I just do a normal combine with
my original over here. Make sure to set normal
combines always to high quality because it makes quite a big
difference. Let's see. So we now have this
one. I'm going to actually it a tiny bit. Here's a smuggler. And then what I want
to do is I want to add a multi directional
warp gray scale, and I'm going to just use
maybe I can actually use Potal Maybe I could just use my clouds to over
here in the intensity. So the mode minimum.
Or maybe maximum. Yeah, it's at the boat
maximum over here, just to break up those edges. And now we got something
like this going on. Okay. So now if I just go ahead and go in
my normal and just, like, play around with the intensity, I feel like that I want to go in and make this
like even thinner. Okay. And now what I can do is
so I have this and I'm going to just go ahead and
right click, create a frame. I was moving some stuff around. Let's call this long
grain don over here. And now what I can do is
also here at the Actually, you know what we can
probably do this. Um over here. I can add something
called a static or sorry, a switch gray scale over here. And then what I can say if true, it will do long grains. If false, it will
do a uniform color that is completely white. Set to grayscale, and you
can just put D to dock it. And what I can do is
I can expose this. So if true, I can say, like, Okay, have these
really strong grains, so I'm going to set
a default to false, expose it and call this long grain ardon and I will leave this into
the normal note over here. No, you know what?
This one would make more sense to have in the
grains and press okay. And now this switch I can
use somewhere else also. So what I can do is
I can go up here, and I can say,
like, Okay, blend. Let's add another blend. Let's make it a bit
of like a dark color. Maybe just reuse this one. And then what I can do is
I can go ahead and add a new portal note. Over here. And just call this
one long grains. Oh, sorry, I do apologize. I need it to be no, wait. Because of the nature and how we are using this, this is fine. So long grains. And then I can go here and
do another portal. And set this to long grains. And if I then go in here, I need to go ahead and
invert gray scalds. So now we have these lines
so we can also control, just like the intensity of it. So I would probably
want to go ahead and just Na You know what? I want to expose the
intensity over here. Let's go in and add a
histogram range, I think. Basically, what I'm doing
is I don't want to expose the intensity in my blend. The reason I don't want to do that is because we are using a switch to turn on
and off these grains. If I expose the
intensity in my blend, this blend over here does
not get switched off per se. Although I could also do it in a slightly different
way where I could technically go in here and I could expose this and
just call this like grain Color Long grain add on. Color. That's the bit of a long one, but I can go ahead and
turn it into colors. And then what I
can do is I can do a switch color over
here and say if true, long grains, if false, we just do before we add our long grains,
something like this. Now, in order to basically
make sure that when we switch off on this
switch over here, of our long grains, we can actually go in here and
just in the drop down, we can find the same exposure, long grain addon and click it. And now these two
will be linked. So you can see that
the default is off. If I go ahead and save this, then in my master wood, if I just go to
the default wood, I can very easily in
my grains, turn it on. And now we have
these long grains. Now if I go ahead
and go over here, you can see that now these
long grains are added. And also, what should be the case is as soon as I turn it on, we should have our color. Let's have look. Here, long green
color intensity. And I believe that
if I turn this off, then my long green color intensity, okay, I
guess it's still. Oh, no, wait,
sorry, it's unreal. In unreal, it would go away. I guess I thought for some reason in designer
that was also the case. But anyway, I can go in here. I can control, the color, and now the last thing that I need to do is I need to control the normal intensity,
so I can expose this. Long grain add on intensity. Because I place it
into my normal group, I know that this
is the intensity of the norm map and
not of anything else. Let's go back to our grain. I'm a bit worried
about this arrow, but it's coming from
a default cinch map, so it should not
technically matter. I can go over here
and I can say, Okay, so if I go to my
normal over here, I can set my long grain
normal intensity bit lower. And you can see
that now over here, it blends a bit better. Of course, when we
are in painter, we can use this along
with other techniques to basically improve the
skill or improve the look. But for now, we don't
really need this look, so I'm going to just turn off
the long grain ardonF now. I'm going to press update
on my default wood, and I'm going to finally call
this wood material done. So in the next chapter, what
we will do is we will go ahead and continue by
creating our other materials.
15. 15 Creating Our Rock Material Part1: Okay, so what we're going to do in the next few
chapters is we are going to work on a stone
material that we can use, and it's like a really like
a master stone material, so we can use it for over
here like our steps, these sites, but also all
of the stonework down here. Although the stonework over
here, we will, of course, create another texture from which we will utilize our
master stone material. And then, of course,
we will have like these stones stack
nicely like this. Now, for this, I was deciding, like, what type of
stone do I want to use? And I decided that I actually wanted to go for a
more natural route. In the beginning, I was thinking more like
a route like this, but I feel like that it
was just a bit too basic. And since we are making
so much awesome use of nanite and we are
also going to do some really interesting
stuff with moss, I felt like we can just do some actual sculpting of stones and then apply textures on it. So basically, having said that, we are going to create
a tilable material. That is sort of like the
material you can see over here. Now, you can see
that, of course, it is a bit tricky
because these are stones and they have a lot of
localized details to it. You can also see
that there's a lot of different color difference. But we're basically
going to create the tib material that we can hopefully map on
individual stones, slightly alter the settings to basically get a really
cool looking stone. And the stones themselves, we are actually going
to just sculpt them, and then we're going to
place them into place, and it's going to
look quite cool. So that's something that
we will do much later on when we actually are going to create all of our final models. So I added a few more reference images
as you can see over here. This is more to get
a better close up of roughly what the
colors look like, just like the colors
you can see over here. It's not exactly the same, but it's just to give
me some inspiration. And I also added just some
additional images that I found online of some
rocks here and there. Okay, so knowing that, the first thing that we need
to do is we need to get started by creating
our base stone height. This is the most important one. Um, it has to be
quite generic if we want to use it on
actual sculpted models. So I'm mostly
looking for not like a very light rocky type material that has some of these
height differences, you can see over
here and over here and maybe that has some
quacks like over here. And it's just like
to have a very solid base that we
can then later on use to actually start generating our base color and
everything like that. Now, for this, let's see. We have our wood over here, let's create a new substance
designer graph over here. I'm just going to call this
stone underscore master. Over here, and let's
go ahead and Pascua. So definitely, we are going to do some really cool
stuff with this. So this is once again
one of those materials where the base should
look really solid, but it's by no
means like the end. Like there is going
to be more to it. So having this one, let's
get rid of our metallic. And this time, we want to
keep our ambient occlusion at our height because
we are going to actually apply a
little bit of that. I'm going to get started by
generating a base shape. This is a pretty
common workflow of creating like base
rock type materials. And basically what
you want to do is you want to create a shape, and you want to use
that shape inside of a inside of like a tile sampler. So where are you? Yeah, so we have a tile
sampler over here. And now for the base shape,
what I'm going to do is, I'm just going to go
ahead and have a look. Let's start by just like
literally grabbing a shape over. And I want to get I want to give these
stones like some direction. I don't just want
it to be centered. I always looks a lot cooler if stones have some
direction to it. So I'm going to
go ahead and say, let's make this like
a paraboil over here. Tone down the scale
a little bit, and let's also go ahead and just make it a
little bit thinner. So this will later on just
work with the direction. Next, what I'm going to do is I'm going to break up the shape. I can do this quite
easily by blending it using a say a sells
one over here, and let's make the
cells one quite large. So the als one because it has darkness or dark
and brighter areas. When we blend this
together using or subtract or a mint
darkening over here. Yeah, yeah, I think
it's subtract. You can see that over here, it just breaks up the
shape a little bit. See if we just make
it a bit lower. So it just kind of
breaks up the shape. It's a very easy way to very
quickly make your shape, and you can make
it really sharp, but we are going
to make it still quite soft and stuff like that. Let's add the outer levels
because, of course, the shape has been reduced
in levels quite a bit. Now let's add just some very large scale additional
variations. So let's say multidirectional
warp gray scale, and let's do like
classical clouds to, for example, and
let's set the mode to minimum because I probably
want to cut away from it. I don't like this. Let's try maybe just like a
basic purlin noise. Yeah, basic purlin noise
looks a little bit better. Then if I just set
my intensity to 50 and then tone it back down until it's to a
point that I like, and I can also go
in my purlis lower it in terms of the scale, lower the scale bit and
just play around with it. I just need something like
this is looking quite good. Maybe break up the shape
a little bit more. But honestly, this should be
fine because we are going to manipulate the shape so much that almost nothing
will be left out. So we now got this one. Now the next thing that
I'm going to do is, as I said before, we have
over here our tile sampler, and we are basically going
to go ahead and just plug this into the pattern input
one of our tile sampler. And that's at the pattern
over here to pattern input. So now you can see
that over here, these now our rocks are mapped. I'm going to go ahead and set my Y and X amount
quite a bit lower. Actually, I'm going
to set my Y amount lower than my X amount because, again, I want some direction. Yeah, something like
that should work. And then what I'm going to
do is I'm just going to manipulate my sizes
and positions, roughly similar to how
we have done it before with all of our wood materials. So I'm just going
to give a bunch of size randoms over here. And then also some scale random and just set size quite large. You can see that the size
is blending quite nicely. This is because the blending
mode is set to max. If you do art subtracted,
just blows out. I'm going to go down
here and actually set the color random also up because I just want to have a
bunch of randomness in the I don't
want to go all the way down because I don't
want this to be a zero to one value where it goes from black all
the way to the rest. But let's say
something like this. Let's make this quite large. Let's say a position random over here. Yeah, something like that. And then what I want to
do is in my rotation, I'm going to go ahead
and give this rotation. And let's say that we
go sideways like this. I just basically need some
type of rotation to this. And you can also have some
rotation random over here. So we basically are going to
create a bunch of shapes. What I'd like to do is I like to often have a normal map that I set on OpenGL and set
it really high to 30. And here you can see that it makes it a bit easier
to read the shapes. So you can see that
over here we are just trying to start forming like some base shapes so I can go in here and I can play around
with the Ymunt also. But I do want to get
some thinner shapes so maybe I'm not getting
exactly what I want. So what I can do
instead is, let's see. So first of all, we
have our size X. I can make that one a little bit less in the random factors. Let's go ahead and let's grab a Let's duplicate
this one over here. And what I'm going to do
is I'm just going to go ahead and layer on
another pattern. So let's duplicate this. Let's make this one, say,
a little bit smaller. Something like this,
let's play around with our seed to get
something interesting, maybe play around with the
scaling. Something like this. I only want to have
this in certain areas. So what I'm going to do is
I'm going to go ahead and add a histogram scan and
plug in my first one, and I basically only want
to have this in areas that are quite black, as
you can see over here. So let's do something like
this and let's invert it. The next thing that
I'm going to do is I'm just going to go
ahead and I'm going to blur it just to make
it a bit softer. You can plug this actually in your mask map input over here. This allows us to
then go all the way down to our mask
threshold and in here, you can see that I can basically
make sure that only in the white areas,
is this correct? No, not correct. I want to go ahead and do an invert
gray scale over here, so that only in the white areas is where our rocks will
kind of, like, show up. So you can see over here that sometimes you
just want to kind of play out with your soften
intensity. You know what? I guess I don't need a blur. Scal. I guess I do not need it. What I do want to do is if
I go my Massma threshold, I do want to play out with it because I don't want
to have it in areas. But let's say
something like this. Now, if we now go ahead
and just do another blend, and we are going to blend basically top and our
bottom once together, and we are going to
use the Max item, which is the same
type of blend mode that we have in
our tile sampler. And now over here,
you can see that now we have nicely filled in any black areas that we might get from our original
tile sampler. So that is already, like a pretty decent base. Now we need to go ahead
and take it from here. So what I'm going to do is I'm going to start by just
manipulating the shape. So let's have a
look at my normal. Yeah. So this shape right
now is way too strong. Like, I'm going
to, I want to get more subtle effects out of this. So what I'm going to do
is I have this shape. I'm going to go
ahead and blend it, and I'm going to blend over pretty wobbly shapes,
if that makes sense. Basically, I'm going to do this. So I'm basically just going
to scrap like a salespe, for example, we have a lot of
these like bubbly, bubbly. Well, we have a lot of
these bubbly shapes, and what we can do is when we subtract these shapes
from our main shape, it basically creates
like a cutting effect. I can grab myself one, and let's make it a
little bit smaller. Let's add a directional
warp and let's just warp it using our original just to make it a little bit and let's actually go
in the opposite direction, and let's set this
to 30 or something, or maybe even 300. Let's see. I'm just going to basically warp it to the point where we get some sharp
cuts here and there, as you can see, we
are warping it. And then what we
can do is we can blend this together using a probably like a subtract At this point because
it's so subtle, you need to mostly check
on your normal map. But here you can see that
now I'm subtracting it, I get some of these
harsher cuts over here. Make sure to not
make it too intense. We are actually
going to tone down all of this a lot later on. For now, let's say 0.2, for example, over here. Now the next thing
that I'm going to do is actually save my scene. That would be nice. Source files, textures. Stone. And we can just go
ahead and save it in here. Next, I'm going to add a
bit more manipulation. So right now, the direction it feels a little
bit too intense, so to speak. So what I'm going to do
is I'm going to add, like a directional warp
and I want to have this direction wp pointing the opposite direction of
what we have over here. And then what I can do is
I can pretty much grab a let's do like a
transform note and just grab our original before we
start doing the harsh cuts because this one reads a bit better and just press
like 90 degrees. So we are basically now warping it into like opposite direction, and that will create here. So like, like, overall warping and cuts
and stuff like that. So I kind of like to always do something a
little bit like that. Next, I'm going to up like a histogram range,
probably. Let's see. Just like balance things
out a little bit more. Let's have a look at my no map. But I don't want to balance
it out too much because right now it's not yet about
cutting away these shapes. So let's say that we have
something like this. We have now a Isconge. Now the next thing
that I'm going to do is I'm going to
go ahead and I'm going to add a um yeah, let's just do some
additional breakup. So for the additional breakup, let's go in and I'm just
having a little tk over here. Let's blend whatever
we have now with, like, something sharp,
like a crystals. And we can probably also
set this to subtract. And it's just basically to break up the shape
a little bit more. So we can make this
actually quite intense, something like this. And yeah, can I see it?
Yeah, I can see it. Next, what I'm going to do
is I'm going to probably, like, let's add some layers. So over here, you can
see that often you have these little layers of
stone like here and here. So I kind of want to try and
get some of those layers. It's a bit tricky to connect
right now at this stage, what I'm doing with
this actual texture, because what I'm
doing now is more creating like a base rock
so that I can, like, build upon it to create exactly what we're looking
for. So we have this one. Let's do a quantize grayscale. And using quantized grayscale, we can create some
additional layers, maybe also make the slope a
little bit less over here. Next, what I want
to do is, I just want to, like, improve this. So let's do a multidirectional
walk grayscale. And let's just do we have a Cloud two already?
No, we don't. Let's grab like a Cloud
two and just placed over here and add a portal. And it's just because I
use the clouds so often. It's just an easy one
for me to just have. And over here, I'm just going to go ahead and set
this to Clouds, too. Okay. So set the mode
maybe to minimum. Minimum might not work
on the quantize always or might not always work on the quantizes just
because there's, like, a lot of different
gray cow values. But right now this
looks pretty decent. So let's go ahead and do
a slope blur, rascal. And let's just blur. And most of this, what
I'm doing right now, you might think,
like, but how do you know how to use these notes? And unfortunately,
it's just experience. Like, it's just learning,
also, of course, from other people and
other textures and just watching tutorials on my own and just like
trying stuff out. Often it's lily just
about trying stuff out. So that's basically it. So there's no, like
magical stuff about it. There are some really
cool tutorials on the art demark place it's
called the substance handbook it's not
a video tutorial, but it's more like just seeing the graphs and that stuff
is really cool so that you can read the graphs and just see what's going on
and all that kind of stuff. Anyway, we now have
something like this. What I'm going to do
is I'm going to blend this together. Over here. I want to blend this using a Let's see multiply,
no, subtract. Maybe multiply that's quite low. I need to check
in my normal map. Okay, so it does
create some cuts. I'm just playing around
here. Just give me a second. At, multiply, sorry, subtract just
creates the cuts inside. Maybe Max Lighten looks a bit. Oh, let's do Mint darken. Min darken feels like the
best one because it just already creates some masking without us needing
to do some masking. Another thing that I'm going
to do is in the quantize, I'm going to lower down my slope because I want this to be, like, a little bit sharp or so I'm going to lower
down my slope. After that, let's do after the multidirectional
wracaltry first of all, before, if I can blur it. The reason that I'm not sure
is because blurring it will, of course, alter the edges. I need to make sure
that the edges actually do stay
somewhat intact. If I just go ahead
and blur it, here. See that Cris already
some nice blurring. We got some additional
cutting going on over here. I am almost tempted. I just want to see
what it looks like if I cut it the opposite way, if I create a 90 degree
transform over here, and then I most likely will
need to warp it somehow. So yeah, it does create cuts, but I'm not sure if the
cuts are actually worth it. So if I go with 90 degree, yeah, honestly, the cuts
they feel a little bit more natural when they are actually in the direction of the stone. So we will, art ways to alter the direction more later on. So for now, let's say, opec, I'm just wanting
to play some cuts. And this is a bit
the same as the wood where I'm basically
building the foundation, and then I need to
go in and I need to make any changes that
might be needed. So the thing I feel right now is what I don't
like is, of course, over here, all of
these transitions on the stone, they
are very soft. But right now we can very, very clearly see the
different shapes that we have used over here. And I'm not completely
a big fan of that. So I'm going to change
that in two ways. One of them is maybe
I can go up here. And maybe I can This is a
technique I don't use often, but let's try. Let's blur. Blend. Then let's add a
height blend over here. And let's just hold
shift and just plug this into our
blended height, and I need to have the height and the top
over here blended. Then basically what I was
thinking is that I can maybe, let me just double
click on my mask because it's really
difficult to see. I was thinking that
I can blend in some additional softening
in some of these areas, but I'm not sure if that I am able to add
this softening effect. You need to be very careful
the strength of it. Let's actually also
look at my no map. Here you can see that
now it is softening it. But I'm a little bit worried that the shapes
that is getting rid of right now that
I might still need those shapes just to define things further
before doing this. So what I might want to do is I might want to actually not
have the height blend here, but have it like, maybe have
it all the way over here. Let's try another
height blend here. And if I'm not yet sure what
I'm going to do with it, then I can, of course,
just leave it for now. Just throw this one in. Because it's definitely
able to read everything, but it's also not able to, like, push it to the effect
that I was hoping for. A, wait here. If I do
like contrast now. So, it is blending, the tricky thing is that
the blending, right now, it is, um To sharp, I would say. But I don't know. I don't think there is a way to really control the mask
inside of our blending itself unless what we do is we
use a blend note behind it and we grab the base at the top and blend it using a Min darken or Maxton or
Max Lighten over here. Now you can see that
we get this effect. Now if we blend it and then
grab the mask over here, the hype mask, add a blur, high quality gray scale. And blend that over here. That might give us that softening
that I was looking for. I also see some
really harsh cuts here and there, which
I don't really like, but what I'm going to do
first is I'm going to go ahead and I'm going
to add some really, really, really heavy breakup, just like break up all of
these shapes one last time. And after that, we can
see what we need to do. I'm going to just
steal the stuff that I made over here and
just duplicate it. And I want to basically get like a really sharp looking shape. So let's see if I go
instead of parboiled, let's try something
with harsh corners. I can't remember that
was like a diamond or something. This one, maybe? Um, we can try it. Yeah, we can try. No, wait, no. This is not the one
that I'm looking for. Because it's too
square, basically. Okay, let's actually
keep using the parboil. And let's instead, push it
way down using ourselves. Then we break it up. And then what I want to do
is I just want to, like, basically do
some kind of cutting. So if I just go ahead and go for another blend behind this, and let's say that I cut this, maybe I can literally cut it using just a gradient
map over here. Set the gradient, and
let's set this to, like, mint darken over here. And now what you
can see is here, that creates quite a sharp cut. So I guess I can
use my gradient. If you want, you can even add a transform to your gradient, and then you can see over here, you can control where
you want to cut this. But that doesn't really matter
because we are going to, like, randomly rotate all of this stuff later on.
So we have this one. Let's go in, and I'm going
to just steal one of my tile samplers because why do more work when you
can already use one? And I'm going to, like, make this like a lot. So let me just try
some stuff out. I'm going to go in my symmetry random and my rotation random. No, wait, not my
rotation random. Let's say symmetry
random and maybe only on the horizontal or vertical axis. Yeah, let's do symmetry random, only on the vertical axis, which means that it
will only flip around. But because this is a long shape and I want to keep
it a long shape, I, of course, don't want
to, like, overdo things. And now I'm just
basically trying to a lot of shapes over here, and I need to add more
variation, basically. Something like this, almost like a lot of knives
or something. Let's have a look. So we
have our rotation random. Let's make that a little
bit more erratic. And we have over here
a color random also, which I can make a
little bit more dense. Let's start with this. Let's add like I don't know. Let's add, like a
directional warp, and let's grab some crystals, which I should have
used before over here. Just like warp it a bit, maybe to like 40. Tone down. Here we go. So
we're just like warping it. Let's add a slope
blur grayscale. Maybe using an existing
purlin noise or actually, that one will probably not work. Let's just use a portal
note with our clouds too. Samples all the way up, mod
the minimum intensity down. There we go. Let's say
we break up these edges. I kind of what I want to do
is I kind of want like RT to transform X set this to X two to make it larger
and see if that, you'll see that improves the
cuts a little bit better. When making it larger,
what will happen, and you can see it over here
is that stuff is no longer tilable because you can only go smaller and
keep it tilable. So just add a make a
tile photo Grayscale. And for clouds, that one
is really easy to use. You can just dock it, and there we go. Now
it's tilable again. So let's say we got
something like this. Maybe let's do one
more directional warp and maybe let's warp it using our actual
shape over here, sometimes that just adds. Even if it's subtle,
it just adds a little bit of a
flow to things here, see? Something like this. Now what I want to do is I
want to start adding this to our actual texture over
here. Let's add a blend. And in the top, we
can add my noise, and that set to It's Min darken or maybe
just like subtract. I need to see my norm map. I don't like subtract.
Max Lighten. I like to have it sitting
on top a little bit more. But I actually
wanted to cut out. So maybe a classic
multiply will work. Just having a t here, I
will need to mask it. So let's try a classic
multiply for now over here, you can see that it breaks
up the shapes quite heavily. Next, what I'm going to do
is I just need to mark this. What I will do is I will use an ambient occlusion
HPAO cheaper version and just turn on
GPU optimization. Maybe my radius is a bit lower. That's art like a his
to come skin? Okay. I I combine this with it's
an old school technique, but what you can do is you
can use a normal node, and you can plug in
the normal in here, sets to like 20 or something like that,
quite a bit lower. Then what you can do is you
can add an RGBA or RGB split, RGBA split over here. And then what you
can do is you can grab one of the colors. You can see over here that every color it has a direction. So if you just go ahead and grab one of the colors and add a histogram scan or select. I kind of forgot. It's been a long time since
I've used this. Let's use the red color over
here. Is that contrast up? Oh, yeah. Okay, so here, so that kind of does
generate some kind of, like, directional type mask. And then if we blur this
because it looks quite ugly, and maybe in our
Hcum scan above, let's blend these two together. So basically what
I'm trying to do is, if I just go ahead
and set this to art, I'm trying to break
up this shape with some kind of like
directional shape. And maybe an art over here that should it should work and if I just play around a
bit more with my Hcrum scan, and then finally
invert gray scale. So we want to have this
only in the opposite areas. Something's definitely not
going white and that's most likely that the mask is no longer 16 bits, as
you can see over here. But also there's more
stuff not going white. I want to probably
go in my Hcrum scan. And I want to push this stuff down a bit so
that there's more of it. Now, somewhere along this line, there is no longer 16 bits. That's why you can see,
over here the graininess. Now, I have a feeling that here, I have a feeling it has to do with probably our occlusion. So if you go ahead and go
to the output format and set this to absolute
and then 16 bits, I know, it looks like
it's that one's fine. This one should
still be 16 bits. You can read it quite quickly, because if you look
at non map up close, you will see these
layering lines over here that you
have not intended. So one of these is
breaking my 16 bits. Now, this one over here looks like it is
kind of breaking it. So let's try and set
this one over here to absolutely the output format and 16 bits. But it is blurring. It should be fine because
it blurs stria blend. This is actually quite strange
because histogram scan. This is strange
to say the least. I don't know where
it is coming from. I'm feeling maybe
the Hcrum scan, that the hiscum scan
cannot reach 16 bits, but I forgot if it
can do that or not. For now, because
it's just a mask, we can just blur it near the end call, you
can see over here. And actually, now
that I look at it, we probably want to blur this, but it is not doing
what I want right now. So let's have a look in here. So our mask is pretty much fine, although it's a little
bit overcomplicated. So I might want to tone it down. Let's set the mode. Let's
try Mint darken after all. Because Mint darken
does cut out the shape. Another thing that I'm
not happy about is right here, let's have a look. Over here, I feel like
my gradients also, there's something
missing in my gradient. Let's go to my transform,
and my gradient, it does not have the directionality
that I was hoping for. Yeah, so I got this gradient and I was hoping for some kind
of strong directionality. So right now it goes
from the bottom to the top. Oh, wait. The reason it doesn't have that directionality is
because we probably use asymmetry. Yeah, that's why. I will probably get
rid of the symmetry. Now you can control using the transform some
intense directionality. Let's add out levels to really
push this to the extremes. Now what I want to do is, so I'm going to
probably simplify this. Let's go ahead and get
rid of our embitoclusion, because I feel like that's
where the problem areas are. And instead, let's use our
isCAM scan. Let's see. If I just go ahead and
plug this one in here, And I'm just basically setting it like really high right now, but that's just
because I'm twying to get a very specific effect, and it's quite difficult. For me to get that effect. So I think I need to set
my blood quite high. And like I can I can sort of
see what I mean in between, but it's still not what I want. I think what I want to do
is I want to probably clamp down my shape a little bit more at after the outer levels. Let's try to the
out levels to do a histogram scan
because right now I feel like there's just too
much gradients going on. So I'm going to use my contrast. Actually, let's look at the
end because it's easier. I'm using my contrast.
I'm mapping it. Now it is quite sharp and then I'm manipulating it to
make it less sharp again. Then it starts cutting out. If I go to my slope gray scale, maybe the intensity,
a little bit less. It's definitely like the
slope gray scale is one of the offenders that is causing
some of these problems. For the rest, let's
try and set this to be quite a low value. And I feel like I might
need to have, like, even more of these
to really get, like, the effect that I want, so just play around
with your X and Y M. It's a bit tricky
to get this right. So I'm mostly just,
like, trying stuff out. And I want this to
be quite a soft cut. So not harsh, but it does need to definitely cut up
our shape quite a bit. I am going to tone down my here. So now, yeah, I just need a bit of back and
forth with this. I can really do this quite really fast because
it just takes time for me to get this to
look white. So I got this one. And instead of, like,
an outer levels, I'm going to go for,
like, a classical levels because I want a little bit
more control over things. I want to push them
a little bit more towards the extreme by
moving my black slide. And yeah, we have
the mint darken. Okay, yeah, here.
So it's already going to it's already starting
to do what I wanted to do. I am warping this using
our original shape, right? Yes. Let's see. If I just go ahead and warp this I'm warping it
quite intensely already, so I don't really feel the need of needing to warp
that even more. I feel that my shape
before this is also already like it's too
intense, my shape before this. And what I think is that
that is actually causing the mint darken to get confused. So let's have a look around. So we have this shape before. And yes, so it is too intense. So if I go in here, and what if I ty and maybe
flattening, also my top. So let's go ahead and add a blend and do the same stuff that we
are doing here where I'm flattening the top It's too
min darken, I believe it was. Maybe this one does not
flatten it completely. But let's have a look at how this because this, of course, greatly affects our shape,
as you can see over here. And I'm mostly just curious In which direction it
will do the best job. So here you can see, now it's starting to get a
little bit more softer. Like, you can actually make
it look really cool if you wanted to by just going for, like, some extreme
values, but, of course, I'm more looking for
the soft values. Ah. Something. Okay, so let's say
something like this. We arter direction,
we arter warping. Sometimes I like to
literally just go in and also play around over here with, like, all of the effects
that we have added. So let's first of all,
get this one in order. So this one is now
a little bit lower, and it's because I'm
using my height blend. And if I just play
around with the height, offset a little bit, I can
make this even softer. But the thing is like the
height bland, it is softer now, yes, but it's not the
type of softness I want because now it looks
like soil rather than stone. So maybe if I now
go in and I have this hiscrm scan and
I blend this one, along with probably
like a height blend. So let's add these two to maybe bring back some
of those shapes. Let's see how that looks. And of course, we need to make
this like very, very soft. Okay, so that's still
not it's better, but it's not yet what
I am looking for. I can go in here,
my tile sample, and also play around
with the rotation to see what exactly m Okay, so definitely like
the rotation if we, we definitely want
to move the rotation up or in the same direction. It's interesting how over
here it is. Oh yeah, yeah. It is kind of pointing
towards that direction. Okay. So it's slowly
getting there. So now the last thing
that we need to fix because we got
the rougher shapes, the thing that I don't yet like is this blending over here. So so I can just
start with, like, for example, playing
around with my blur. And maybe making
it less like this. And then another thing
that I don't really like is maybe I
need to go all the way to the beginning tile simpler and then play
around my color random to, like, lower down that
intensity a little bit to maybe give everything
a softer appearance. No, I don't really
like that too much. I think instead
because, of course, this appearance over here
will also be really soft, as you can see, so it will
actually be tone down. I think, but I'm just
for previewing purposes, making it really strong. I think instead is like we have now roughly what
I'm looking for, like, these additional
shapes over here. So what I'm going to do now
is I'm going to probably, like, continue breaking up
the shape a little bit more. I know that this has been
quite a long chapter, but I kind of want to ty
and get most of this, done so that we have a core
shape all in one video, and then we can
continue from there. So let's start by breaking
this up using a like a multi directional warp and a classic slope
blur over here. And you probably guessed it, I'm just going to use a portal
note with our clouds two. And I want to go
ahead and once again, just look at my nome map. So this one definitely
soften things out. Maybe I want it in the
mid direction or average. I think you still want to go
for, like, a min direction. So yes, it softened things out. And now if I do a slope
blur for which I also use a Clouds 21. Now for this one. Oh,
that's really intense. So it's the mint. Let's say
it's like super, super low. So 0.01. And what I feel like I might
want to grab the clouds two that I scaled up over here. So let's try that.
Yeah, there we go. That's a lot better.
Let's do 0.1. Let's actually also
try that one on our multi direction warp, just to see here. So that does create a
slightly better effect when we have a larger clouds. Okay, so now the next
thing that I'm going to do is let's play around a little
bit more because right now, yeah, these valleys, I
wanted basically create smaller and larger shapes
because right now I feel like all of the shapes are
pretty even in size. Let's go for, like, Yeah, let's do like really large,
so like six and three. And then this one is going
to be a bit smaller, which is going to be
like I don't know. Ten, six to white,
maybe, maybe not. I'm somewhere now
after doing this, somewhere I'm losing the shape, and I think it's just
like that I messed up a mask somewhere. Let's set this
quantize over here. Maybe I can set this higher, 15 yeah, let's set this
a little bit higher. And I have feeling that maybe, like, was it this one? No, no, I think over here, I'm probably losing the shape. Oh, no, I'm not. Where is that sharpness coming
from? Is it this one? Oh, that's the one over here. So this area over
here for some reason, it is just messing up with
my sharpness quite bit. Let's change this and
let's make this like a little bit less because it's creating those really ugly artificial sharp
lines that we have. I'm going to also
set the quantize off for now. So
let's turn that off. Go back into my normal, and quickly just go back
to basics a little bit. So we have like this
slide cuts over here. So we have now quite
a soft looking area. Then we use quantize to basically apply some of
those small cuts. Okay. Over here, we are using a blur. So if I can go ahead and just, like, lower down the blur bits. Okay, so we're getting close. And then we are
adding the shapes. A, that's a shape on top, and that is again
looking not good. Maybe if I just go for, I want less of it.
Let's see how is that? Okay, so we're adding some
additional shapes on top. Over here, let's do 0.015. And then over here, we
just have some breakup. And the last thing that I
feel like it needs is I need to break up those really sharp lines that
I have over here, which probably comes
from this area. Now, I don't know. What I can try to do is I
can try to literally just do a simple
16. 16 Creating Our Rock Material Part2: Okay, so what we're
going to do mostly in this chapter is we
are just going to spend time basically balancing
out our material over here, because right now
it's not very good. But like, as I said before, we got the core stuff
already ready to go. So the first thing that I notice is that right
now all of our levels, which means the gray scale
values, they are quite low. This is something
I want in the end, but not in the beginning
because it means that all of that mint
darken blending, it does not blend correctly. So I'm going to start easy, just trying to art and outer
levels behind this one. I kind of like push it down. And that instantly makes
quite a large difference. Having this, I want to see, and I think what
I want to do is I want to make it a
little bit softer. So let's just go
ahead and you see tone down there's
a little bit more. Also, you know what
I'm going to do is I'm probably rotate it
a bit more extreme. So let's see what
rotation do we have now? I mean, rotate a little
bit more sideways. So let's do Mint 55. And let's go to this
tile sample over here. And again, Mint 55. Make sure that it's like
roughly the same one. Okay, we got that. Um, maybe set the wire mount
a bit higher on this one. Oh, I'm not sure if I like that. That's twice seven, but I'm
just going to play with my sat because what I want to get like I don't want to get
this where there's, like, white areas and then
very large dark areas. I want to get a pretty
even looking effect. So let's set this one
also, a little bit lower. Um, actually, if I now
go to the first one, Hey, something like
that might look good. So I don't know
what I got CD four, X amount 11, Y amount six. And for the first one,
it's like seed zero, X amount seven, Y amount three. Now, with all of this stuff, it's not about the exact values. You will almost never get
the exact same thing because even the slightest
0.1% difference, of course, you will notice. So what I'm going to do now
is I'm just going to go ahead and have a look. So we continue on
over here where we start adding our
additional shapes. What I notice here is that now, I'm cutting away the shape, but it's causing a lot of
the whiteness to go away, which I want to get rid
of a little bit later. So I'm actually going to
probably change where I want it. Also, this warping over here, it's a little bit too intense, so let me just turn it down. I'm also going to make
the cells a little bit smaller to make it slightly smaller details. Let's see. Over here, at this point, I can no longer do
it out of my head. I need to go in here. Actually can see that's already starting to
look a bit better. Let's see. We have over here, we add some of our shapes. Maybe I want to
make these shapes a little bit less intense, so I can go ahead
and set this sorry, make the blur less intense. That's what I mean. That's a little bit too much.
Let's do 0.38. Okay. So I got that. Now I am blending the
softness. That's fine. I still want that. And this one. This is a big one
where I am still not really convinced
about the effect. It is still not
doing what I want, and I'm not really liking it. Like we got, all this
interesting stuff going on, yes, but it just
isn't working for me. So what I want to do is I want
to go a little bit back to the drawing board with this
specific shape over here. So what I will do is I
will probably start by altering the original shape because that's the
biggest thing. So over here, we have the power booils and I just don't feel
like it's working. So I'm going to delete
that. And I had, like, a little tryout, and I think like a polygon over here would work a
little bit better. Now with this polygon,
unfortunately, I cannot actually, control
any of the scaling. So what I want to do is I
want to add a transform. And then hold control shift
and then scale it flat again. Now when you scale flat, what you will see is that
over here on the side, you can see that
it starts to tile. I do not want that, so what I will do is in my tiling mode, set this to absolute and
set this to no tiling. And then now I'm going
to plug this in, and I'm going to just
have a look and see Yeah, so this is, like, a lot
sharper and then outer levels. I don't think I need to scrum anymore because we have,
like, the sharpness. I have my multidirectional warp, and then I'm going to,
like, cut this out. That is still pretty
much the same way. Yeah, let's just do
something like that. Okay, so that already makes quite a large
difference, as you can see. Next, I'm going to probably make them a
little bit bigger. So let's go for,
like, around 25. And maybe let's say this one, eight is a bit too much. Let's do around 12 or
something like that. Okay, so we got that. Now what we can do is we can
go ahead and we can go down here and
we have our sizes, and I'm just going to make like, wow, I don't know
why it's so slow. Here, you can notice
that the graph is already like really will
slow, which I don't like. If you just want to play
around with a lot of values, what you can do is
you can temporarily, delete this connection, and now your graph will
no longer be slow. Now you can see that
it's almost instant, all of the changes
that we can do. So we have our scale over here, and of course, we are going to give a bit
of scale random. And I don't know, splay out a little bit more like my scale, stuff like that. Next, our position random. Yeah, pretty much fine. So that's also totally fine. And next what I'm
going to do is I'm going to rotate this to make the rotations a little
bit more extreme like this. I still feel like I need maybe like an
outer levels behind it. There we go to push
it quite a bit more. And I don't know how
is my blending mode. I think it's a color
random is turned on. Blending mode, Max, yeah, Max is definitely
the one that I want. I do feel like that
my outer levels is now a little bit too much, but I guess we can push
that down. Let's see. Now we plug this into
our direction warp. I will set the warping angle a bit towards the top,
we break it up, another directional warped
instead of my levels, let's do a histogram
range or something. And I'm just going to go ahead
and Wow, it's really slow. I'm really surprised
how slow it is. I'm not sure why because it's not supposed to be this
slow, as you can see. It could be like the outer Oh, yeah, it's out exporting. The reason is because
exporting SPNGs is a lot slower than TagA files. So what I can do is
I can go ahead and export as a taga and just see how the
height map holds up. We will know soon enough
if the eight bits because height maps do
work at eight bits, but there comes a point
where you see those lines that we have experienced
ourselves multiple times. Okay, so now Over here, we are blending this. I can see over here
all the blending, we are blending it, that's fine. But are we blending it
in the right position? That is the question. If I go ahead and just make
this quite intense, but then tone down
the opacity, like, as you can see here,
we are starting to get closer to something better. Now what I can do is I can
now go ahead and switch back, and of course, we would
need to switch this to our Targa files in
order to properly work. So what I can do
is I can go ahead and just try the height TJ. Looks like it does not
give me any problems. So I guess for now we
can just go ahead and go height ambit clusion
and other stuff. Let's set the overall
displacement quite a bit lower. Actually, no, I want
to set a bit higher. It's a bit hard to see. I think a mouse going to
set my occlusion, like a little bit lower. Okay, so it's getting better. It's definitely getting better. So now what we are
going to do is just, like, it's like, now we need to start toning down that sharpness that we had. So we of course, got rid of that stuff
over here with this one. But if I just go
ahead and, like, copy this move it over here. Add a blend here and
then blend this with our Was it Mint darken
or Max Lighten? I always forget which one. Max Lighten is for the
darkness and Mint darkening is for the brightness. Also, I am worried about
the slowness right now. What I'm going to do, I'm just going to
go ahead and close my wood material and
also close this one, which I don't even
know what it is. Hopefully that will speed up my workflow
because for the rest, I don't see any really
extreme milliseconds that should slow down my system,
so it should be fine. And let's have a look.
Okay, opacity over here. I think that's
working quite well. If we go before and after, It is toning it down quite well. Now, you know what
I'm going to do? I'm going to restart my
substance because something is wrong with the slowness.
It should not be this slow. Give me 1 second, please. Let's hope that sort of works. Over here, we now have this
mask if I make it a bit stronger and it's
all over the place, but I still wanted to add at least some
blending over here. Now I'm toning it down. And also, I feel like I'm not getting the gradient stuff
that I really wanted. So I want an actual
good direction. And I guess this is because
my color random over here. If I just go ahead and tone that one down a little bit more, that might ace, bring in
some of the gradients. And unfortunately, the
slowness still exists. So it is something I will need to investigate a little
bit more later on. Okay, so that's looking
quite interesting. Tone down the amount. And now that's tone down the
strength quite a bit. Okay. And the last thing
is that over here, we still have that sharpness and I feel like that's the
last thing that I really want to change
before we can move on with all of the
additional details. So we do have this blurring over here. Which helps a little bit. Let's have a look over here. So the sharpness
comes from this area. If I go ahead and
have a look at my nor map and go all the way back here and then play out
with this plant, for example. No, that does not remove the sharpness the way
that I wanted to. Let's try this one. Okay, so that does remove the sharpness
the way I wanted to. It's just a little
bit too intense. Whatever I do
something like this, and what if I now go
into my tile sampler and increase the scaling
a little bit to, like, to make the blending
a little bit more intense. There we go. See, we're slowly
starting to get somewhere. Another thing is that I feel
like this histrum scan is no longer, like,
completely correct. So I'm just playing
out my position to increase the amount of
blending that we have. Now, I'm starting to recognize this height as a
decent height map. Let's see what else? We are going to add some
noise over here, but let's have a look at this. What you want to do in Mm set, whenever you update
a height map, it doesn't always update it, so you need to
turn it on and off to properly showcase
the height again. There we go. Now we start to get somewhere a little
bit closer because now what you can see is that we have all of these
little cuts and shapes and everything that will work quite nicely on this, but we do not have very
large defined shapes, which is exactly what I want to. I will say that I
can see over here, see, all those tiny little dots. That is because our height
map is not at 16 bits. So now I can show you the difference if I go
ahead and export this as like a PNG because it
looks like that or a Tink it turns out that that was not what was causing slowness. But now you can see over here
like little bits of noise. And then if I now switch
back my PNG to or sorry, my displacement to
the PNG version, see, all those little
dots are now gone. So that is something to keep
in mind that unfortunately, TGA is a very fast export, but it doesn't get rid
of those small effects. Okay, I'm quite
happy about this. I do want to experiment with one last thing before I
will end this chapter, and the next chapter,
we are going to finalize all of our height, and we are going to, like, Yeah, finalize our height,
add some cracks, and then we can start
with a base color. I want to transform and
set this to a x two. And the only reason
I want to do this is just to preview and
see what it looks like. When we have larger
shapes in here. So I can go in here. Turn on and off my displacement
and just ignore the lines. I'm just looking I think I quite like having
slightly larger shapes. What I'm going to do is
I'm going to go back in displacement or in a designer. I'm going to set
this one from 25. Let's say it's 28 maybe 127 is fine, so we are taking five
points off both of them. Now they are a
little bit larger. But my hope is that
if I now go in here, I need to turn nf my
displacement again. Okay, so now we get, like, some more large scale variation. Okay, that's looking quite
cool. I quite like that. So I do think like we still have a little bit more
of like those balloons, that kind of effect, which I don't really
like too much. And I can try and play out my blend over
here and see if I can, like, push down the effect, but I think I actually
made it worse instantly as soon as I did that.
So let's just know that. Let's instead try over here to maybe cut it a little
bit stronger like that. I hope that that
is not too strong, but we'll see soon
enough. Okay, see? So now we are getting rid
of some of those balloons. We do get like some sharp
points here and there. And that is the last thing that I probably
want to get rid of. So, yeah, we have like
those sharp points which I don't really like. Um Yeah, I cannot really get
rid of that with our color random, probably. So let's add another blend. Let's add a blur, high
quality grayscale. Let's soften this out. And let's try to capture
those sharp points. I will try first, but just
like a simple hair scrub scan. Ah, perfect. So you can
see that over here. You can instantly
see my problem. So with the sharp points. So now if I just
go ahead and blur this, I should be able. It's a bit hard to see, so
I hope that I have it in, like, the right way. I can just do this
to double check. Okay, yes, so it is softening. I'm just going to
go ahead and just, like, tone down my
intensity a bit. And I can also have a
quick look all the way at my normal ACC that the points are being softened. Now, next thing I
might want to do is outer levels on top of this. Okay, not in outer levels. Let's do another isc. Actually, let's
just use this one. Let's set the contrast
higher and the position higher to basically get stronger colours to improve
our blending shapes. Let's try that out. T on my displacement. Okay, so now I'm
starting to get rid of some of those sharp
corners already. You might notice that up here, we do have some sharp edges, but this because the UVs of these spheres go
all into one point. So that's something that
I cannot really help. So what I'm going to do now
is I'm just going to go ahead and tone down my
displacement map a bit, maybe increase my AO map
a bit. And there we go. I think that now we have a pretty solid looking base
rock to get started with. So in next chapter, we are
just going to add some cracks, do some additional balancing. And then what we can
do is we go start focusing on our base color. And once we know what our
base color looks like, then what we can do is we can go back in and just improve. But you can see that
now we have got all of our layers done from large shapes all
the way down to, like, smaller shapes over here. If you want, you can, of course, go to Render and make already render so that we
can once again track it. I'm also going to
go ahead and get rid of all of those DJ files in my EpotFolder and I think that this will end up being a pretty
cool looking tail. But yeah, we definitely
need to, like, later on, when we actually have
this on our stones, of course, the displacement
will not be this strong. And of course, everything
will be more smaller. So we are now will work on
the large scale texture. So if we want, like,
a really large stone, you can see, still get
all of that displacement. But yeah, defining
the colors is going to be very interesting
because we're just going to pick one color, probably this one over here, and then later on, we can just control once again,
all of the colors. Now, I was hoping
that at this point, it would be done
rendering, which it is. So let's have a
look at our image over here. And there we go. Okay, awesome. Yeah,
so I definitely see some small stuff
that I still need to do. We still need to add a
lot of micronise also, but I think that we have a
pretty solid start already. So let's go ahead and continue
on to the next chapter.
17. 17 Creating Our Rock Material Part3: Okay, so we now have a pretty solid base
over here for our rock. And what we're going to do
now is we are going to, first of all, get
started on a base color. There's still quite a bit of stuff that needs to be done on our actual base we need to add some cracks
and stuff like that, and we just need to, like,
improve the general shape. But what I want to do is
because the base color. In general, base colors, when we are creating
them for rocks, they also take away
quite a bit of, like, the shapes and,
like, the details. So I want to already go ahead and just,
like, create, like, a base for that, and
then we can go in and start improving the
rest of our shape. Now, in terms of the base
color, of course, once again, it's a bit tricky to see
because we are creating a large flat texture while
having only a reference of, like, smaller texture here. But I think what
I want to do is, so I quite like having just
like the general noise. Like, we're just
going to delay on various noises to basically
get the effect that we want. And we'll probably go for, like, a lighter stone like you have over here and then
take it from there. So it will basically
be like this. So we will create
the base color. We are going to layer on various different noisy
textures on top of that. Then we are going
to go ahead and lay on some larger grunges for some of these color variations that we
have over here. And then we are going
to create like a system for all of these I think
it's called leeches, but I'm not sure exactly, but all of this
mold and stuff like that to layer dot on top. Also, and at that point, we will probably go ahead and
go back to the height map. So that's a general idea. Let's go ahead and go into
our substance designer. And the first thing
that I'm going to do is I'm going to go ahead and clean this
up a little bit. So right click and the frame for this one
and just call this. Main shapes. Then what we are doing
over here is don damage. Uh Let's call this
shape variation. And over here, we'll call
this balancing. There we go. That already looks a
little bit neater. So, of course, later on, we'll just go ahead and
clean up the graph. But for now, let's just go
ahead and move this over here. And for our base color, it looks like that
the main color is like this yellowish stuff. And all of this over here, that's just like dirt
that we'll art on top, so we'll create a
cool mask for it. So let's grab this
yellowish stuff, and then let's grab also like some of this dark stuff that you can see over here and
use those as a noise. So we are going to get
started with just like a simple gradient map over here. Basically, what I need to
do is I need to decide, of course, which shape I'm
going to use for my gradients. So let's just try this one. I have a feeling that
if I use this one, it will maybe look a
little bit too soft. Let me say it like
that. I can go to my gradient editor and
pick gradients and I'm once again just going
to go to the image on top and start picking. You'll see, that's what
I meant with too soft. But I can go ahead and just
try and make it really noisy. Yeah, you see, even
if it's really noisy. Unfortunately, sometimes
this happens that we have a shape and it's simply too
soft, to use as our base. So instead, what we're going to do from our height map is, we are going to generate masks. For now, however,
because we, of course, still need some
kind of base rock, we are going to simply
use a noise as the base. So if we go, I quite like
crudge map zero, 13 often. If we try that one,
And I do want to, of course, give it
some direction, but let's first before I
go through the effort, add a Grady map and
once again, go in here. Here you see. So this one, as you can see, because it's
like, quite a bit sharper, it just adds a lot
more visual interest, even if we only
have a few points. So I'm just going to
go ahead and twilight over here and maybe
over here or here. I'm just trying to capture some kind of interesting shape. So this one is more
like a green shape. And if I go here, it looks more. Okay, so that might be a little bit too much in terms of the
color difference. So let's just try I
don't like that one. That one, it has interesting
color differences, but we would need to do a lot of bouncing so
let me try one more. Okay. So it is between
Oh, actually, this one. This one I think
works quite well. So there's quite a bit of
color difference, but, of course, we are going to minimize that
a little bit more. So let's go ahead and go in here and I'm going
to just delete some of the darker versions until I got to the one that is causing
the main darkness over here. I think
it's this one. Oh, no. Not that one, so let's
go ahead and see, I'm just basically quite
tactically removing some points. But it looks like
the darkness is really spread across here. Se across like
quite a few areas. So it's more up to me to make some of these really dark points
a little bit lighter. Um, let's try
something like this. And let's you see
later on if we are starting to art a bunch of
stuff, how that will look. Now, as I said before,
first thing I want to do is I have overhe
my crunch Bps 13, and I'm going to rotate it. And well, you can actually
try a safe transform. In a safe transform, you can
set a rotation over here to like 45 degrees. And then you can see that it
will still keep it tilable. I think we need to
go -45. There we go. So we then don't need
to turn this into a tilable texture after. But of course, what it will
also do is it will also scale our texture in
order to keep it tilable. But that looks fine for now. Okay, so we have
this one. Now what I'm going to do is I want to kind of try and get this
darkening over here. I want to ty and generate a mask for and I kind of also want like a noisy mask on top
that is going to be one on these noisy bits, but it looks pretty much
like the same texture. So if I go ahead and add a
uniform color to start with, and in the color
pickup just pick like that brown color, this one. Now, I cannot get away with just a flat color because we are covering quite
a large surface. So instead, what I'm going to do is I'm going to
grab another color and just grab like a slightly
darker brown over here. And then I want to blend between these two colors using a gang map in order to basically create a
bit more variation. Let's try B&W spots two, maybe. Here, see, it's subtle, a bit too subtle, so
I'm just gonna make this like a little bit
darker. There we go. But it just very quickly adds a bit more variation
to our shapes. You can press D to doc
the BW spots if you want. Now I'm going to go ahead and
blend. These two together. I'm actually going to give
myself a bit more space. Okay, so I need to define
the cracks in between. And on top of that, also, probably the tops, and I want
to then blend out the tops. So basically, I
think what I can do is I can do most of it with
an ambient occlusion note. So, oops, I grab
my ambit Come on. I grab my ambid seclusion. Turn on GP optimization
and set the radius quite a bit lower. Here we go. And then the height
that all the way up. This is capturing most
of those inside areas. I'm then going to add an invert gray scale
and a histogram scan, which allows me to basically, don't make it too
strong, so soft. There we go. Okay. Next,
I'm going to have yeah, actually, I'm going to
just duplicate this stuff. And for this one, I want to go ahead and set my
rates a bit higher. And I want to set my intensity, maybe like, Oh, I cannot
go higher in my intensity. That's a little bit annoying. Actually, I should
be able to, here, I should be able to
capture this just by playing with my contrast
to ground and push it more. Okay? So here we have the tops, and we have the cavities. Now the next thing
that I'm going to do is I'm going to blend both of these. No, sorry. No. I first of all I want to break this
one up before I blend it. So let's actually just
blend the top one, and I'm going to break
it up using Actually, maybe I can simply use
this noise over here. You know, subtract.
Maybe I'll like a histogram, scan to this. Because what I was going to
do is I was going to break this up and blend this together. And you can probably like with an art, it
will just blow up. So maybe do a Max
lighten over here. And then what I was going to do is I was going to blend it using some kind of grain noise, like a white noise
in a multiplier like a low level just to give it a little bit more
of a noisy feeling. Let's see if that works. So it does add
definitely those cracks. Now, I'm a little bit worried
that it looks actually, no. Yeah, maybe it doesn't
look too soft. Although I don't
really like those really large white spots. So we have this one. Um,
but yeah, I cannot really. Maybe if I low down
my position a little bit, Okay, there we go. Now, over here, we have one more, but
that should be fine. We got some of this layering. I feel like we can
actually also go into our ambitclusion over here, and then we can quite
easily control the radius. Now we already have at least some directional dirt going on. Now the next thing
that I'm going to do is maybe in some of
the flat areas I want to generate a bit
of noise, maybe. Yeah, let's try that. Let's try grabbing a blend
and we can pretty much use the same technique
that we used over here with the RGBA. I can actually probably use
this one because we don't really do any extreme
editing after. So let's just grab
this one and do this. Now what I'm going to do is I'm just going to go ahead and blend this using a let's start with the B&W
spots two over here. And so what was I
going to do with this? I was going to give it
which color? I will see. I might want to give it, like,
a light or a darker color, depending on what it looks like. Yeah, I think I can
probably do a darker color. It's a bit difficult
right now, of course, to really see what we're
doing because everything just still looks quite ugly and we're in
the early stages. But I'm going to work on that. So this one, of course, we kind of need to
break up the edges. So that's why a
multidirectional warp grays go. And let's just do a
portal to our clouds, too, and set the min. Set the intensity?
Actually, let's see if we set the intensity
really high, like 200. Okay, that's too much, but
now we can just turn it back. Something like that. At
seas, we are breaking it up. No, I don't like that yet. It needs to be broken
up a lot more. Maybe let's blend this now using our angled texture over here. Yeah, there we go. Like I want it to be quite
a bit softer. Okay, so we got a base. Now, I'm also not really a
fan of this darker noise. So what I'm going to do is
instead of this texture, I'm going to grab
my grading map. And in the grading
data, I'm going to literally pick
the dark noise. And hopefully that will give me a more visually interesting
texture something like this. And let's actually try that one. Okay. And if I then go in and do a replace color
range behind it, scrap the source color, grab the target color. Looks like this one's
fine so that I can now controll basically like
lightness of it a bit. Yeah, there we go.
So that already feels a little bit more natural. I am going to keep
this one because we might be able to
use it later on. But it does feel a bit better. The one thing I'm not
yet happy about is our masking because what I feel is that our
masking right now, it's a little bit too basic. Often, what you can see over
here with these rocks and, like, it's really
difficult to see. Maybe I can show you over here, there's always a little network going in between the masks. It's quite a different
balance between the two. And I want to see if I can
sort of mimic this effect. And I'm just trying to see
if I'm saying it right. I always make sure to
look at your reference. Yeah, let's see if I
can mimic this effect using maybe like a sales
one for example over here. It's just like something that
we can overlay on top of the rest. Grab a sells one. We then add a histogram scan to basically push and get more of those quacks
and stuff like that. Make it a bit softer. Then we can add a multi
directional warp gray scale and you scribe clouds to. Set modem in 100 and
total it down to around, let's say, let's do around 23. Right now, it still feels
like it's not thin enough. I can try a sales one or sorry, sells tree over here. Maybe a sales tree will
work a bit better. Set the hardness all the way up. But of course, a sales
tree like it doesn't have enough space yet. So what I don't want
to do is I might want to just do like
an edge detect, which basically
gives me the option to give it also
some round edges, but also like improve the shape. And then there's two ways
or we can use a bevel or we can use a non
uniform blur gray scale. So bevel will just
very quickly here, see, like some bevel. But it is quite intense. An uniform blur gray scale. What you can do is
you can plug in your base into the blur map
and then just press Invert. Oh, sorry, no, I
think for this one, we don't need inverted. But as you can see
over here, you see the samples and blades up, it just creates like
this more softer effect which might look a bit nicer. Let's see. So if I just
grab this one Break it up. Okay. Now, if I go
ahead and let's see, maybe make it a little
bit smaller over here, just before it starts to break. And if I then go in and blend
this, and for the blend, I'm going to see if I can use um I'm sure we
have like here, like a sells one, maybe
this one over here. Let's add like a bottle note. See how handy the bottle notes
are as soon as we need to, like, grab something
from very far away. Um, I'm just going to
call it sales direction, and then I don't have to drag
it all the way over here. Portal, select sales direction and just plug it in here
and just set this to, like, min darken actually, no. Let's say this to
subtract. Over here. Okay. And if we now so we now have this
interesting looking noise, but what I'm actually
after is to, like, plant this noise. So's go over here, blend this. And what I also need to do
is I probably need to, like, invert it because I'm
actually after those pieces over here over the inside. Okay, so now we
have this network. I probably want to make
it quite a bit smaller. I cannot make it smaller in the cells because then
the edge tag breaks. So instead, what
you want to do is after you've done everything, just go ahead and
Allt transform, and then you set it to minus two to make it
smaller after that. And so minus two
again. There we go. So we now have a network. Now I can go in. Actually probably want
to keep it like this. And then this one over here, it's a little bit too intense. So I can, like, lower this, but
let's have a look. So Okay, so the dusky like
that effect, the spots effect. But it's not yet
where I want it to be because right now it is
like the center point, and I don't want it to
be the center point. I can see what it
looks like if I just, like, low down your paste. Yeah, that could actually
work. If I low down the passe, here, now you can start seeing
those cells in between. So let's also go in here, and. Set this one to subtract. Throw in our noise. And let's just have
a look over here. Yeah, I just want to see a
little bit of those cells in between everything like this. So that's looking pretty good. So we got quite a large graph
already for a base color, and we're not even done
yet for a long time. But as you can see, this
texture is definitely more complicated than
our wood material. That's why I wanted to not
do it as like the first one. So let's move this over here. And let's see. Okay, so we got like our noises
now over here. Now, next thing
that I want to do is I want to try and get maybe a little bit more of like a
yellow color. In between here. Now, a cool thing that
you can actually do, which a lot of people
seem to forget is that, yes, you have over
here like your noises, which are the substance
designer noises, but you can actually go
in and see if there are any substance painter noises
that you might want to use. So if you just load up
substance painter over here and give the second to load and go up here to
like your textures, these are all SPSER files, which means that you
can use them in design. So if you ever feel
like you want, like, a specific noise. So if I have a look,
well, honestly, I cannot even see
it on here because we are making a flat texture for something that's
really small. But if I go ahead and
just look around, you can see that we
have all these noises. Many of them even
have directions to them that we can use. So let's just go ahead
and have a look. So we have, like, a lot of,
like, dusty looking pieces, and I want something I
can't even explain it. I can't explain what I
want until I see it. And oh, yeah, here,
some marbling veins. Yeah, we could have used
those ones also for, like, that in between stuff, but for now, it's fine. Funny enough, they also
have some wood crunches that we could have used, but, of course, these crunches, they don't do a lot, so they are a little
bit less flexible. This stuff away is pretty good because we can use
that one already for, like, the leeches and
stuff like that later on. So it's something
to keep in mind. But what I'm after is more
maybe this one if I lower it. Come on, load. I am
more looking for an organic looking
texture that has quite a big contrast.
Let's try this one. Because what I'm thinking, you can just write, you can
right click Show in Explorer. Then if you go to designer, you can literally
drag in the SPR that has opened up over here. What I'm looking for
is basically yeah. Like when I lower it down, I want it to give me,
these quite strong shapes. So what I will do
is I will actually, since we are working
on this right now, I'm going to go ahead
and just drag in, like, a few that I like.
So the leeches one. We can also use. So let's
just already drag that one in. Over here, see? So, but as you can see, we do not have a lot
of control over it, so we will need to make that
control inside of designer. What else do we need?
So we got some leeches. The specks are no I'm not
gonna do those specs. Maybe just like some
overall color crunches because sometimes
you can see over here like slight color changes, see.This goes from blue to, like, a slightly darker blue. We could use
something like that. So I'm just basically
hovering over it. This one over here looks also
a little bit interesting. Just go ahead and drag
this one in, see? We could use it for something. And let's have a look. These
are just like smudges. This is dust. I'm not sure if I'm looking
for dust right now. Funny enough, I
made these myself, but you guys also have
them in the library? Um, This one's a
bit too defined. Because, of course,
these are not really made for tile
boom materials. They are made for,
like, something that you can post in between. I think I'm just gonna grab this last one,
actually, these last two. So this one, hello. This one. And also this one. Over here. Yeah, I think you can do quite a bit of stuff with these ones. Let's go ahead and get
started with the first one. The first one is going
to be like we have this noise over here and I want to just go ahead
and overlay that. I feel like this noise would
not come after the dirt. I would come before the dirt. Here we have our grain map. Let's blend this using a noise then the next
thing that I can do is I can actually most likely because it just needs
to be slight color change. I can actually go for a replace color range and
just grab our base color. And target color over here. So let's use this one, and I'm going to go for
a more orange color, like you can see over there, so I can actually use my color
picker and try to go for, like, something
that's really orange and that's what is too much. Okay. Now, next thing
is that I feel like this one can be a
little bit sharper. And now we are going to start with quite
intense layering, which means that many of
these texts over here, we will, of course, lose. So here we like art our dirt. Then I'm going to add
just having look. Let's add some white, how you call it
desaturation type stuff. So let's blend this. And for that, I'm
going to use probably like my cobwebs over here. And I can do tilt by 45 degrees or rot by 45 degrees. Sorry. And I can also then add a transform
because unfortunately, I need to go for the
opposite direction, and this one is going to
be a little bit whiter, so I can once again
use my color replace. Because when using
the color replace, at least the colors, they kind of like fit
together a bit better. Or they flow over a bit better.
Let me say it like that. I should be able to go in here. Here, see, and add
some whiteness. So here now you can see that it starts to look a little
bit more like rock. Like I'm just overlaying multiple different granges.
Let's have a look. So over here this one. I'm just not happy yet about
the color that we have. However, I could
probably use this one, the cobweb one up here. Indo, I don't think it
really matters too much. Instead, what I can do is I can go in and I have my cells, and let's just add a blend and break up these cells in order to basically give us
a nicer blending. So let's break it up using
the copeps over here. Let's see if that helps. So we got our shape
then we got our dirt. Our dirt is probably also a
little bit well too dark. I'm just going to go ahead
and make it a little bit. Yeah, a little bit lighter. Now, we got some of those
cells, which is fine, but we still got some really
large flat areas over here, which I am just not happy with. And it's because we
added over here. So probably we also
need to add a blend, and maybe we can blend
this one using the copps. It's very important,
especially with organic shapes to try and
just break up your shape as much as you can to a point where it's like, I
can't really explain. It's like a balance between
soft and hard blending, but you don't want to define your shapes because when you
define the shapes too much, then it will become too obvious. So here, now you can see that
now I'm just breaking up my shapes and now they feel
a little bit less defined. Over here, I still
see a defined edge, and that's a big no, no, especially when
it's so sharp. So let's see, I'm having
my direction rob, and you can see that
my direction rob just isn't making it too soft. So if I just add a
slope gray scale, and I can also use
the clouds too, samples up, mod to minimum. And if I then go in here, where are you? Here you are. Yeah. Yeah, I can use that, and maybe even use my samples. See to kind of soften
it out like that. It might look sometimes I might look really
bad in your mask, as you can see,
but sometimes you just have to look at
your actual texture. And okay, so in between here, we have those defined shapes. I do feel like we
don't have enough, but that's something
that we can work on later on when we have
racks and stuff like that. Now the next thing that I have, so let's have a look. What else do we want? So
we got this darkening. There are some white
spots in the darkening. That is something
that we could do. We could have a very
simple blend and then grab our white color
again after darkening. And this is just a matter of blending these two main
masks over here together, and we can blend them
using a Max Lighten. And what we can do is we can
add a DT one, for example, and add a histogram scan to
give it like these specs. And then if we blend and we want to go for the
multiply over here. Now the specs will only be in these areas where
we have the dirt. And now, maybe I need to I don't know if we can get away with just the outer levels. Now we need a histogram
scan behind it again and just push this up. And now you can see that now
we get some white specs, and we can also go
into dirt one and just set the scaling to like one. Yeah, see make the white specks a little bit more defined. And there we go. Now we
get some tiny white specks in between our dirt over here. Now, the next one that
I'm going to do is, so I feel like I got
the base colors down. I might want to, like, blend in some additional
colors near the end, especially because I have, still two of these quite
cool textures. And especially this
one, like this one actually is derived from a rock. So I could go like
this and maybe, let's see if we can just
already blend in a color. So let's blend and I will clean up this later on
so that we have more space. So let's blend this one,
and now the question is, which color would be good. A lot of these stones, they
have a bluish undertone. So maybe if we go for something
a little bit more bluish, we can just blend that in there. And then, of course,
later on, we also going to give color
variation where we can control the color of all
of our stones in one go. So if I go for
something like this, but not too over the top, they here like a
slight bluish tone. Yeah, see? So that
gives us already like some blue color in between.
Am I happy with that? Um Maybe make it like a little bit darker.
Yeah, there we go. See? Now it starts to
really feel like rock. Okay, so we got
all of this stuff. We got like our actual noise. I do feel like we need a
lot more localized noise, but that's something
we can work on. Leeches. Leeches
are often sitting at the bottom of the
shapes, as you can see. So we can also go ahead
and work on that. So if we blend this, for our leeches, I am going
to actually go for, like, a let's steal this one
because you can see that they definitely are not the same type of
noise as the rock. So I'm going to go ahead and
I'm going to grab one here, and they're probably actually, normally, they're a bit yellow, but we will go for
a little bit more whitish because else
since our rock is yellow, it will not be visible enough. So I'm just grabbing
two over here, you can see just over here, different colors because
one of them needs to be a little bit
more like this. I'm not sure if I like to be
in W spots two for this one. I think I rather, maybe
just grab the cobwebs. No, grab our noise. Yeah, actually, our noise
is a little bit better for this one. Okay, so
that's the top. Now for Aichi we need
to first of all, define the base,
the bottom shapes. What would be nice if we define the bottom shapes on one side. I think that will look nice. If I go for maybe like a shadows note over
here, maybe that helps. If I have a shadow's note and sometimes it's really difficult to see, you
can see over here. Let's go ahead and
just add a well, first of all, it's
at my light angle. I don't know if you
guys can even see it, but if I add a histogram
scan, now you can see it. So over here you can see it, I can place these shadows and basically I can point which
direction I want them to go. So what I can do is I
can say, like, Okay, so this I want to
become my bottom. I can play out with my
edge softness over here. And now we have kind of
defined the base shadows. If I now go ahead and
invert grayscale. Now I have a mask of the base. So that's a really
easy way to very quickly add a directional mask. Of course, we now
need to blend this, and we got these
leeches over here. Although they're
probably coffee stains, but let's just
make them leeches. I'm not the biggest fan of the noise in between,
to be honest. So let's try and use this come
scan, maybe like already. Yeah, I'm not the
biggest fan of that. That's a tricky one. We do not have any other
leeches, do we? But it's probably
the most perfect. If I have to make
these things by hand, it's just an annoying
amount of additional work. But then again, they are
quite close combined, so it wouldn't be
difficult to do it. It's just like we need to go in and grab a tile generator, manipulate the shapes, place
them in all that stuff. So what I first of all I
want to do is maybe a make a tile patch gray scale, which will allow me to, like, ultra rotation variation,
size variation, disorder, maybe
tie it once more. It allows me to very quickly add some different
leeches over here. Let's not do the
pattern within size. Yeah, something like that. Let's just see what
this looks like. If I just go ahead and
multiply this on top of our noise shape in order to get like It's only in those areas. Let's see if that looks
anything like leeches. Well, right now, I cannot
even see anything. Let's add the Hs note on top, which allows me to, like,
control the lightness. Oh, in the end I
guess in the end, we just need the white color. Sorry I didn't mean
to delete that. Let's just go for a
uniform white collar. I guess the noise itself
is already enough. So uniform white color. Yeah, that does
feel like leeches. I will see if I'm happy with it, yes or no later on. I will add a histogram scan because I just want to push
up those shapes a bit more. Next, I'm going to make this
col a little bit yellowish. And what I do not want to
do is I do not want to play around a lot with
the opacity of my blends. Because if I do that,
then of course, the leeches below it or the leeches will show
the rock below it. So if I go for something
like this and then give it like a tiny bit of passe just to give
it some texture, over here, so tiny bit
to give some texture. Maybe make it a little
bit more whiter now. Here, let's try something like
that to get started with. Okay, so, oh, wow, we are already at 40 minutes. Yeah, it's a long
texture to make. As you can see, compared
to where we started, this is already pretty good. I don't yet like
my dirt over here. I feel like it's too small. So now that we have the breakup, what I can do is I can go into my Hcam scan and see if I can, like push it a bit and just
see what it looks like. So here's come
scan, so let's push this one quite a bit over here. And then also let's let's see. So we are breaking
this one up here. Slop histogram. Let's increase our
dirt over here. And now I'm just going to
go in here and I'm just going to once again,
actually, know what? At this point, I
might be nice if I actually do the
same stuff as with the leeches where I just
tone it down a little bit using the obaste just
to bring the rock below it. It's a bit better. There we go. That starts to feel a lot
like a rock texture to me. So what we can do is we
can go ahead and save sin, and I will end this
chapter off with just Oh, yeah, we
have this one still. I will end this chapter off
with cleaning this stuff up. So over here, all of this stuff, you can go ahead
and call it Wow, we spent a lot of notes on that. We can probably, remove
some notes later on. Like you can go in
and see which notes are really necessary or not. Let's call this darkening
masking. And then over here. This one, Leeches. This is going to be um Specs. And then over here. We just go ahead
and call this one. Base color. Okay. And over here, call this one outputs. Okay, so plug this in here. Now, let's go ahead and
end this chapter here. In the next chapter, what
we will do is we will go ahead and create a
base of this map. Preview it, make any quick
balances that we might need, and then we will go back in and we are going to just our
general improvements in our height map and just basically, jump
across everywhere. You can see that now
that I cleaned up, it looks a little
bit more readable. But I think we already
did a pretty good job and the tricky part is now done because making a stone base call is also always like a little
bit annoying to do. So let's save a scene, and let's continue on to the next chapter.
18. 18 Creating Our Rock Material Part4: Okay, so we left off
with this base color. So what we're going
to do now is we are just going to go
ahead and work on our roughness map just to make previewing
a little bit nicer. So roughness map pretty
much the same way as that we have created
a roughness before. We go start with a gray skull
conversion node over here. And for that, we want to grab probably like the very base
one over here like this. Here's the gram
range. It is rock, so we want to set a
range quite high, but also our position quite high because it's going
to be quite white. Then I'm going to add
like a bunch of plants. Blend, Blend, Blend. Blend. And then I'm just going
to basically make use of these additional maps to
add more visual interest. Let's set this one to subtract. I feel like the orange color would maybe be a
little bit shinier. Then we have over here
our general darkening. We can set this one to art. To basically add some
darkening to it. Then we are well, this one, I'm just
going to leave. Then we have our dirt for which I luckily already
combined it over here. Dirt will probably
also be added on top so that it is whiter. Then we have our specs. I don't really care
about that. And we have our leeches over here. Let's go ahead and
make those supplet. To make those a
little bit darker. I still feel like I'm
missing something, so I feel like I'm
missing some highlights. What if I like a curvature? Or maybe a curvature
smooth would look good. With curvature, what we can
do is if we just go ahead and grab our non map over here, you can see, if I do OpenGL, it just allows me to, like, map out the edges a
little bit better. But, of course, yeah,
we need to, like, manipulate this in order to make it a black
and white type thing. If I just play around with
my contrast here, see? I can maybe, like, add some highlights to,
like, the tops. Thanks to the curvature.
Something like that. So let's add another blend. And we might need to break
this up, but let's just see. If I just go ahead and
set this to subtract. Yeah, here, that might add some additional nice highlights. Let's for now just
leave it like this. And yeah, I think what we can do now
is we can just go ahead and have a look at
it inside of Mum set finally, and then
take it from there. So let me just navigate
to Mum set over here. And where is our folder. So I'm just textis stone. Yeah, these are the ones
that we need. Okay. Awesome. First of all, let's just reset my displacement because it looks like it changed
a little bit. I'm going to go ahead
and set the base color back to white and
add my base color. And I'm also going
to add my roughness. Okay, that is not too bad for a very first try without
looking into Mom's set at all. Yeah, so that is not too bad. I am going to have a look at my, okay, so my lights are fine. I'm going to maybe,
like, increase some of the rim lighting. Just so that I can see the
gting is a bit better? Okay. I feel like we now have all of these,
nice noma beetles. As you can see, like I said, when the base color
gets some of these, you will lose quite a
bit of these details. I feel like the overall texture is a little bit too light. Let me lower that down. And I want to I'll start
by adding in between, like, all of these little
quicks and everything. I want to start
adding some dirt. So let's Oh, sorry,
let's paint her. Let's start with that. So first of all, we have
over here our base color. What I can do is
I can already add a color replace or
color range replace. Go for like a default
color and source color. And this time, we cannot
have as much flexibility as we had in the previous
one in our wood. But we can do it like a
little bit, so over here. I also felt like
the leeches can be a little bit brighter. Okay, so where was
it? It is this one. But the tricky thing
is, of course, that we are blending
it in a different way, which makes it quite
difficult for me to really to find those shapes. Wow, that is really tricky. Can we maybe do something
with a curvature again or let's see. So maybe we can grab
two curvatures. One of them is like
the tin shapes, and one of them is
like the large shapes, and then we can subtract the large shapes from
the thin shapes. Is this the one? I'm just having a check because it feels like, because the rest is noise. Okay, so let's see. If I grab a curvature, No, I need a curvature smooth. Curvature smooth. Open yell. Okay. If I now go for
like a histogram scan, It just isn't able to
define enough, I'm afraid. By the way, I do want to
actually artists curvature to my base color in a bit. But that's something that I
want to work on after this. So this is honestly
maybe artitrimbcusi. This is honestly
like a Wi tricky. The high scale up? Actually, I'm going to not have my samples to 256.
That's way too much. Is this able to It is able
to get some darkening. Set this to 64. Maybe if I play around with a maximum distance to clamp
the darkening even more. Okay. This is too slow. Let's do a ambient HPAO. Come on, I just need
some of that darkening. Okay, so now I managed to
get some of the darkening. Use my radius to basically
push it out a bit. So we have our darkening
now over here. And then in between
these large areas, I don't want to There
is another one. It is called mask
to color or color. Um, I forgot what it is scar. It's been a while
since I've used it. The collar to mask or
something like that. Here, it should be in here. Huh? Why can I not find it? I'm pretty sure it's like select color.
That's unfortunate. I'm pretty sure it was in here or I might think
of subs painter, but I'm not able to
actually find it. Basically I was hoping to
use this one because I can now, it must be in here. Color Color to mask. I thought I typed
it in. Okay, fine. Color to mask. Basically,
what I'm going to do with this is I can
select the color in here and I can then
change it into mask. If I turn this into
Grady map because we want to go from gray
scale to color, my hope was that I go ahead and grab in terms of color
like the brown color. Then I can use my color range. Okay, that does not seem to
be working, unfortunately. I was hoping that it's
sensitive enough to sort of it's sort of able
to capture those colors, but let's try his Scum scan. I'm just trying multiple
different ways to basically get here to get these additional
lines that I have over here. This seems like one
way of doing it. Yeah, is it properly
selecting the main ones? I don't need all of them, but I need to select. Over here, it's not perfect, but it's getting there. What if I do this? But before my embitclusion, I blend it and I blend out the mask that I
created over here. No, not that one. I will
blend out this one over here. By setting this to art and
maybe also blurring it so that we will not
get overlapping on top of our from the
really large area. If I just go ahead and
blur this and now, I think that that is close
enough to what we can get. So let's go ahead and
leave it like this. Okay, so we have this
one and we were going to art some darkening to this. I'm just going to
do this as like a new blend. So we
have new blends. We plug in our mask,
plug in our darkening. And for this one,
I'm just going to tone down pass. There we go. Okay, so that already starts to look a little bit
more interesting. Remember how I said
that one thing that I also want to do is I want to add a another bland, and I'm actually going to
add my curvature here. Did I save it? I did not. I'm going to add a
curvature smooth because I really like
the look of that, and it can give me some
interesting highlights. Normally, the curvature
smooth doesn't really work, but I guess only a bit rock. It is kind of okay. What we can do is we can already go ahead and just turn this into gray map to turn this into
color artist to my blend. And it was a specific bled mode. I think it was art subtract. Yeah, I think it was art track that allows me to
art this on top. But let's just double check
to make sure I had it, right? Let's see, overlay. Olay is also actually looking pretty good overlay
or art subtract. I think I'm going
to go for overlay because I want this
to be quite subw. And here, that also
already defines our shapes a bit better. And another thing that I'm
going to do is I'm probably going to just like add a
dirt generator just for, although we probably
don't need it. Like, I can add like a dirt. And here we have this
one for which we can insert our embitclusion and curvature, all
that kind of stuff. But now that I think
of it, we pretty much did a custom one that
should already be fine. So let's have a look,
actually. There we go. Okay, that's already
quite a bit more intense. A little bit too
intense, if you ask me for that one that we added, which is this one over here. So I'm just going to go
ahead and tone that down. I want this to be quite subtle. I think for the rest, like, defining the rest
that's looking pretty good. Okay. So we got the leeches, which are also
looking pretty good. In general, like I
do feel like still the Texture feels a
little bit too bright. If I just play around my color just to see
what it looks like, because I do want to keep
it on the bright side. The reason I want to keep
it on bright is because easier to make something
darker and brighter. If I just go ahead
and tone this down a little bit more like here. Now the next thing is
that our I would say that our roughness map is not
very interesting right now. So I'm going to add a little
bit more shine to that, so I'm Cros painter. I'm going to add a little
bit more shine to that one. So here we have our histogram. I'm just going to
go ahead and set the range. Oh, no,
not the range. I'm going to set the
position a bit lower. So that's when we add all of that additional stuff on top. It should come out
a little bit nicer. Yeah, here, see, now
we get some shine, which is looking already
quite a bit more interesting. And then maybe make the
rest a little bit stronger. So let's see. So we have this. Gonna make this one,
like, that's fine. Here I'm going to
add, like, quite a bit of lightness to it. Something like this, Poly.
And you can see that I sometimes take a few seconds
before I switch back. The reason I do
that is because I'm always looking over
here at this folder, since I have multiple screens, and I can basically
see when it has finished updating because you can see, like a
little file happing. Okay, so this is actually
looking really cool. The darkness in here, I wonder if that's just
ambient occlusion. No, I think it is
actually my dirt, but I feel like that
darkness in here, well, it's mostly
also the color. I'm not going to
lower it too much, but I'm just going to
give, lower it a tiny bit. And let's add also a frame here, and let's just call
this roughness. So over I think it's this one. Yeah, over here. Low down
the intensity of a tiny bit. And after that, what
I'm going to do now, I know that I said that I was going to create some cracks, like you can see over here. But by lucky coincidence, I don't think I need
it anymore because these pieces over here,
they look like cracks. So they already are
really well defined. The one thing that I do want to do is I want to see if I can get rid of some of those sharp points
that I have over here. But I am a little bit scared
to do this at this point, since, of course, we got, like, a really nice
looking texture right now. What I'm going to do is
I'm going to go ahead and let's make my
displacement a bit. More. And let's also play
around with my sky a bit more just to get
the best lighting. I think we were already
pretty close over here. And I will create a image. Then I will save my scene, and then we're going to go
ahead and work a little bit more on render image. Then we're going to go ahead
and work a little bit more. But definitely save your scene and do not save
until you're happy with the next step that we do because else we might
cause some bombs. Let's do fine edges
mask over here. So for that, what
we're going to do is, well, I first need
to wait for it. Hopefully, it is as simple as changing
my thing over here. So let's see. What I can do is I can
quickly create a transform. And then if I go ahead
and squash this, so the point is really like
sitting at the top over here. Oh, sorry, I didn't
mean to do that. Ah, that's tricky. I'm going to do
something. So by now, the image, the image is done, so let's actually have
a quick look there, and then we can do it. So we started with this
one. And now we have this. Looking pretty awesome. Yeah, I like the general color. I like the leeches. Maybe
I'm going to add a few more. Oh, no, wait, I have
some white specs, so that's actually fine. Also remember that, of course, this is going to be on stones, so it will be
slightly different. Now, Okay, I'm going
to make some changes. However, these changes can
completely destroy my mesh. So definitely save your
scene. And let's have a look. So the simplest one is that I might want
to go in my sales one, and it will also be very
slow by this point to create changes
because we have not optimized our mesh, and we
still need to do a lot. Let's go to your sales one and literally just play around with the disorder and then
wait for it to load up. Here you can see that now? Because I play around
with my disorder, I sometimes get different areas. If I go ahead and make sure that all of everything
has been exported, notes still exporting, here you can see what I can see, sir. I hope you could see that
it shows a temp file. If I now going in here, that's
a nice thing of procedure. It will still update. Now I
have this and I feel like no, I just don't like
that. I don't know. It's honestly just
wondering if it's even worth trying to change the shape because we
might just destroy it in a way that I don't like. I guess one last thing I could do is I could add
and blend and then duplicate over here like
this transform and basically also cut away the
top a little bit using a min darken, I
believe it was, yes. So here, I can cut away
the top a little bit. But I don't actually
think that that will get rid of
the shape, per se. Yeah, maybe like
this, it will get rid of the shape if
I just move it down. But then I cannot, keep
it on for this strong. So yeah, you can
see that over here, if I do it before the outer
levels, it does not work. I need to do it or sorry after. I need to do it before
your out levels. But at this point, I'm
more like thinking like, sometimes you need to
make the decision. Is it even worth changing? That's more like the decision
that you need to make. Like, is it really
worth for us to break our shape so much while
we spend so much time, making this look absolutely
perfect and stuff like that, just to change this. So I can go in here.
Now with this one. Like, this stuff,
Hmm. It is less. But we might be onto something. Let's see if I just
like artificially push my displacement a bit more. Okay, so let's just undo Dad. I want to push it a little bit. Okay, that's a
little bit too much. I think it's because we have
like these norm map shapes over here that we want to
probably tone down a bit. This one might work. If I just go ahead and
take one extra picture before I need to make sure that this is the
one that I want. So if I go ahead and take
one extra picture and then we can compare,
and based on that, I know if I'm just
going to reload the Safle or if I'm going
to keep it this way, because I just really am
not in the mood to break things like in any big way. If it is okay, then what I'm going to do is we are
going to go ahead and optimize our shape
in the next chapter. We are going to
create a bunch of presets so that we can
go from discolor to this color to this color to this color and this
color over here. And once that is done, I'm going to call the
stone done for now, and the rest will probably
be done inside of subspd where we will add
additional moss and, like, also additional cement and everything in between
here, all that kind of stuff. Are you done? Yes,
you are done. Images. So, come on. Before. After before, after. It is subtle. You know what I like before?
Yeah, I like before. I'm not going to change it. I don't think it
will be worth it, so after trying it out. So what I can do is I can just go ahead the press
close package. And if you want to save changes, just press no over here,
so that we'll close it. And now you can go file
recent and open it up again. And then it should be reverted
back to our original, and it should automatically also export this version
straightaway. So I can look on
my other screen to make sure that it's
exported. Looks like it is. No, it's not complete export. Let's just go ahead and do an
manual export to make sure. Over here. And then it
should be ready to go. Yeah. Of course, you can keep improving this
more and more. That is no problem. Now you
can see that it's working, so I'm going to tone down
my displacement again. So, definitely, you can keep improving this more and more to get more interesting effects
and to just work on this. One of the things that I might
want to do is over here, I see some harsh cuts and
I might want to try and see if I can just
break those up. That's probably the last
thing that I will be doing in this chapter where
are they located? So they're probably sitting all the way at the base or not. Yeah, they're probably
all the way at the base. I could do a slope
grayscale, maybe. And that's tube like
a moisture noise. Like, it's probably
going to be too harsh. So I'm going to go set
samples up, intensity down, mow the minimum, and
just see if I can, like, Yeah, here, see. That's the annoying
thing with slope greyscal because it looks
at the greyscal and we have so like a
willy white grayscale. It doesn't seem to work. I can also try a
multidirectional warp grayscale. Motamin intensity. No. Okay. If that does not work, what I will do is I
will literally go up here and in this one, I will try and break
it up over here. So we have outer levels. Let's do a multi
direction wall ratio. And if this doesn't
work, then once again, it's not really worth my
effort at that point, because I don't think once we actually have
it on the stone, if this would be like a
really large cliff wall, I would spend more effort. But since it's going to
be an individual stone, you probably won't
even see most of all of these, most of this. So the mint Hmm, how does that look
like in the end? Oh, just like creates
quite a bit more noise. Oh, well, actually, we had to do some micronise now
I think of it. So I'm actually quite
curious to see if this already takes care
of the micronise, else, that's one that I completely forgot 'cause you don't really notice it with this
rock that there is like, a lot of micois. Yeah, that kind of takes
care of all the micronois. So we can just
literally use this one. That saves a lot
of time or a lot. That saves a bit of time. But, okay, so it looks like I'm not able to get rid of these really
sharp shapes. I think it's also mostly like a lighting thing
because over here, you see that you don't
really notice it. So what I'm going to do is I'm just going to go
ahead and I'm going to call this material
done for now. I'm just going to have a
look at my image over here. What I want to do is
I do want to maybe lay out a little bit more
to create a nicer image. And rocks, I often like to go a little bit more extreme when
it comes to the lighting. I like to make it a little
bit stronger here and there. Because of course, when
you have displacement, you can make it look a little bit more
visually interesting. Rotating my sky around. See if I get something nice. Let's just do
something like this. It's a little bit darker. What I can also do is I can also go in. And if I really do not like these shapes over here
for my specific render, I can go on the horizontal axis. I can just, like,
rotate over here. And just like that, you can see, now I've minimized everything
a little bit more, and it's up to you to find the nice rotation that you like. Okay. I don't really want that
really large crack, so I'm going to go for something like
this. Okay. Awesome. Yeah, what I'm going to
do is I'm going to go ahead and I'm going to
call this texture done. Let's take one last image on it. And in the next chapter, what we will do is we will go in and we will start
by just optimizing this graph and creating
presets so that we can use it a little bit better inside of
substance painter. But for now, great job. This one was quite tricky,
as you can see, most of the work
went into the hypol and we were lucky that
in the base color, it actually end up
going quite easy. Now, yeah, one thing that I do want to do is I
want to do the color replace range before
my leeches over here. So let's just go ahead and do this because I don't really want to change
the leech color. I want to go ahead and have
control of that later on. So let's say Isn. Let's wait one more second because it's
almost done. There we go. And let's have one final look. So if I go ahead and
just have look, Okay. Awesome. Here is our final rock. This is what we had
before we started the chapter. And this
is what we have now. Awesome. Okay, so I think we got a really solid texture
already going over here. It's up to you to, like,
play around with the shapes. Of course, your texture
will look quite different because just
the way that shapes work. Let's go ahead and
continue on to next chapter where
we will be cleaning this stuff up and
exposing our parameters.
19. 19 Creating Our Rock Material Part5: Okay, so what we're
going to do in this chapter is I wanted
to optimize my graph. But unfortunately, I
have a bug right now, and this is probably because I recently updated to latest
version of designer, where all of the
timings, they are off. They are showing
zero milliseconds. I tried everything like
restarting substance. I tried looking online,
and unfortunately, it's just a problem that, um, yeah, for some reason,
it just isn't working. So, unfortunately, I'm not able to really
do much on that, but I believe that our
graph is not that big, so just use common sense. Like when you use
an ambient cluson, make sure that GPU
optimization is turned on. Make sure that your blurs, you do not have the
quality set to one, that kind of stuff. I would say, if
you have this bug, try to use common sense in, like, how do you
optimize your graph. Honestly, I think
what we can do now is it's probably just going to focus on exposing our
parameters and stuff like that. So I will start by exposing default parameters so
that we can change that. Let's go over here.
Let's go ahead and say, let's expose these. Let's do shape, cluster, underscore zero,
one, underscore X. Sorry, shape cluster.
There we go. And this can be in the height. Let's go ahead and press Okay. Then we can also go
ahead and do this shape cluster zero, one, Y, and select this
to the height. Then we can go
over here, expose. This one can be
shape cluster zero, two, X, once again
in the height. Okay. And shape cluster zero to Y. So that will give us
control over, like, the large shapes already.
So that's exposed this. And, of course, we
already went over this, so I'm not going to
spend too much time. I think for now, I don't
really need much more than that in my materials
specifically when I'm texturing. But of course, if
I feel like I need more in substance painter, then I can always add more. Expose this uh large shape break up zero, one. Let's do that because we are
breaking up the large shape. Okay, so like some
general directions. I don't need to
worry about that. I can expose this and call this shape layering Amount, maybe, shape layering amount. Let's go ahead and height. Okay, so we got the
shape layering amount. Over here, I'm doing
some blurring. This one is going to be the fine shape cutting. Yeah, let's do that. So we have some fine shape
cutting over here. And then in this one, I don't know what
you want to do. It might be easier, honestly to just go ahead
and do a transform. Let's do a safe
transform over here. And simply transform exposing
the tile and just call this like fine shape tiling
or something like that. Instead, exposing all
of those parameters. So now we can just very easily, change the tiling
of this to make a bigger small
instead of trying to expose all of these parameters because these perimeters
are so sensitive, and sometimes less is more. Sometimes it's better to just
have less control in order to not make people mess up
your shapes than to have more. I'm just going to go ahead
and call this like shape, noise, break up 01 in height. And this one is going to be, of course, shape,
noise, breakup 02. Also in the height. Okay, so this is just like some
general balancing. That should do the trick. So now we can go ahead
and go over here. So we have over here
our graded map. Now, as I said
before these shapes, I'm going to mostly control
the color, near the end. However, there are some colors
that I do want to expose. So having the default is fine. I want to go ahead and
expose this one, probably. Let's do like orange spots. In a group called
color over here. I can go in here and
expose this one and call this orange spots amount. And once again, this can
just be in the color. Next, we will go ahead and do
this one, which we will go. And I think just having
the target color should be enough white spots. Over here. This one. Yeah, because the white spots, do we need like an amount. I probably don't want
to do an amount because I'm using it, so many levels. You can art histrm scan in between here and
control the amount, but I'm going to wait until
I know if I need it or not. Blue spots. Skin and color. This one I can expose. Blue spots amount in color. Okay, so now we have
our darkening over here and what I'm going to do with my darkening
because it's so many layers. So if I just got the opacity can definitely
control the darkening. I will do like darkening
amount on the score 01. I think that's probably
the easiest way. And then people just
have to kind look at what it's doing. So let's say
darkening amount 02. And this one is darkening
amount 03. Okay. Having these white specs, I don't think I will need
to do anything for that. Having the curvature over here, I also don't need, and
then we have this one. So with this one, if I just go ahead
and do some testing, you can see that now if I make it like blue,
this is, like, really bad in terms
of how it is working. I'm going to try and see. 1 second let me make this red. I want to try and see
that if I make this red, I want to try and
pick a source color. That gets closest to being
like, turning this red. So something like
this, for example, you can also go
in here a little. Yeah, because, like,
it's a bit tricky. I'm just gonna pick.
And doing that, this one is probably
pretty good. You can see that we still
have some shapes like these are like the
orange shapes and everything that do
not become red. But we don't really have
to worry about those because we have
control over those. So if I now go to source Color, I should be able to
very quickly say, like, Okay, I want a
more bluish stone. And then over here you can see the orange spots
and the blue spots, but we should have control
over those colors. So for now, just set the
target color to the same as the sauce color and expose
this main stone color. So that will be the more
important one over here. And then this one we can
just go ahead and say, Leeches amount. And
also in a color. Awesome. Okay, cool. So now what I'm going to do is over
here we have a ASCRm scan, and I want to use my
position over here. So I'm going to go
ahead and say, like, overall roughness position in a new group called roughness. Uh Let's call this orange
spots roughness. Or we can call it
orange spots but because we already
used that name before. This is just going to be
I forgot what was this. Et's just do roughness
variation on score 01. Throw this into my roughness. We can expose this one. Darkening roughness. This one can also be here. Leeches roughness. There we go. And this one is just going to be some highlights which
I'm going to keep. Okay, wow. That was quite a bit, but that is now all done.
So let's save our scene. And now if we just
go ahead and let's say look in our base color. Let's go to our stone master. I want to go ahead and I
want our wedding set up like a few presets for these
different stones that we can easily use them later
on inside of painter. So the first one is going
to be this one is going to be New Stone just press new. Next, I'm going to go for blue. Stone. And then press new again. And now in the blue
stone, let's have a look. So we are going to
go to my color, and I'm going to set
the main stone color, and I'm just going to pick from our more bluer stones in
our reference over here. Next, we have our orange spots for which I'm going to go ahead and make those like a bit
more like a darker blue. Okay, so we do, let's see. If I set my orange spots amount, blue spots amount down, I think it's like
the darkening that's causing The darkening is
causing some problems, yes. So since I have control
over my darkening amounts, maybe what I want to do
is I want to do the color changing before over
here, I do the darkening. So if I now set the source
color still the same. Yeah, I think that might see? Yeah, that works a little
bit better if we do that. So now if I go back to my stone, so we have my blue stone. So we had, like, the
orange spots over here, for which I'm going
to turn those into probably like white
spots a bit more, just by making them gray. So they're just going to be like some additional
lightness over here. My main stone color I'm going to make a little
bit more blue like this. Then I have my blue
spots over here, which I'm just going to because funny enough, the blue spots, they don't read as blue, since that's not how this works, so it is annoying. I think I'm going to
move further back. See, this is just
testing, of course. I'm just testing to
see what will work. So if I go over here, that the sauce color.
Somewhere like this. Yeah, that looks a
little bit more logical. Okay, cool. Let's try again. So we have our blue stone, and we are going to go
ahead and let's see. So I want to have my
orange spots now here, I want those to be
like a little bit more like white spots because that's what it looks
like in the blue. Then I funny enough, have my
white spots which are going to become a little bit more like darker
blue spots in this case, because I can just choose
however I want to use it. And then my willy blue spots, I can probably make
them like we blue. Now, the darkening
amount is fine. The one that is most distracting
is the leeches are now, way too strong. So
let's make those. And I feel like the white spots. No, that is the orange spots. The orange spots over here
can also be a little bit less Let's just try and
make those a bit more, you know, tone down because I do I want to make them
bigger but not as strong. Okay, so we got the
darkening and we have, like, our leeches still. Over here. That's looking pretty
good. I don't think I want to change anything in
my height in this case, because there isn't
really much difference in terms of the stones. And what I can do is at this
point, let's save my scene. It's going to my stone master, and let's press update
on our Bluestone. I also want to quickly check
if my neutral stone still has the correct color values. Looks like it does. So now let's go ahead and go to our
Bluestone over here. So you can see that's
quite a difference. And I'm just going to
wait for it to export. It's now done. So if
I now go in here, give the second a load. Okay, so now we have
already like our Bluestone. Yeah, that's looking
pretty good. So bluestone done. Let's move on to a more like
brownish stone over here. So we can go ahead
and press new label. Let's do Brown stone
and just press new. And for this one,
what I'm going to do is I'm going to
make my overall color. And click on the brown
color over here. Yeah, that's a good color. And next, I'm just going to go ahead and go my orange spots. And what I can do is
I can just, like, click on the main color for my orange spots or I can
literally just choose a color. So let's say that
orange spots are going to be a
little bit lighter. White spots are going to be even lighter, but
they're the same color. And then blue spots
are going to be like a darker color, stuff like this. See? So I can very quickly just change all of
these colors around, which will be very handy when we actually apply this
to our textures. What does this look
like? That's actually pretty cool already. Yeah. I quite like that.
Let's just do this. Let's go ahead and update. And so we have blue,
brown, neutral. Let's go for maybe a bit
more of like a yellow stone, and then the rest we can, of course, just make ourselves. Actually, maybe maybe
a bit more like this stone over here.
So let's call this. Oh. What will I call it? Because this one is also brown. Light brown. Light brown
stone and press new. And the light brown stone
is just going to be more like discolor over here. And then for the blue spots, I'm just going to give it, like, a slightly darker tone. And the white spots can
just be like Actually, no, I kind of liked
what I had before. Yeah, I actually kind of like what I have in general here. Maybe make the orange
spots a little bit darker. You can also, of course,
play around with, like, the mounts that you want. But let's do something like
this. Let's go ahead and press Update. Save scene. And let's have look. Yeah, you know what?
I think that's fine. So we now got all of our
templates ready to go. I'm going to set this back to my neutral stone over here,
which is the main one. And I think we are also ready
to go with this material. This means that we have
arrived at our final material, which is going to
be the material that we need to overhear
for these balls. So it's just going to be
like a stone material. So let's go ahead and in
the next few chapters, work on creating that because
the rooftop material, we will actually create
the cybosubstis painter, so we don't need to create
table material for that. Yeah, let's go
ahead and continue with this in the next chapter.
20. 20 Creating Our Stone Wall Material Part1: Okay, so what we're
going to do in the next few chapters is we are going to work on our stone wall. And for that, I want to go ahead and create like this
type of wall over here. Now in the spirit of
this being a tutorial, I already now showed you twice how to make a
procedural material. So now I'm going to show
you how to actually combine brush along with
a procedural material, which is the stone
material that we already created in
order to basically go ahead and create these
different material variances. So we are going to create the base stones inside
of brush and place them. We're then going to bake it down onto a texture,
and at that point, we will move into substance sign where we will finish
off this texture. For that, this is going to pretty much be our
main reference, but I also have some
additional reference over here that you can also use. Now, the first thing
that we need to do is we just need
to go ahead and create a few very low
poly looking stones, and I will be using
Trees Max for all of my recording all of my
tree mulling over here. So I will be using
Tre SMAC 2022, as of speaking right now. What I'm going to do is
I'm going to go ahead and just turn on my layer
Explorer over here, and now we can get started. So all of the
techniques that I am using in just
anything that has to do with modeling,
they are universal. Even though I'm using TresMx, you should be able to replicate the exact same thing
inside of Maya or blender, or you should be able to get the same effect with slightly
different workflows. But you should be able to for
ong with this tutorial in your preferred software as long as you know the
basics of that software. Same goes with Tres Max. You will need to
know the basics. I will not go over the
UY and all that kind of stuff in order to
follow this along. What I'm going to do is just go ahead and I will by this point, turn on my keyboard
registration. I'm going to use splines
to basically create a few of these specific
shapes over here. It's too bad that I don't Well, yeah, here I have a front view. So I can use splines to create a few of
these basic shapes. Now, what I could do, actually, now that I see this
one, is I can literally just use this image
as a placeholder. So if we go ahead and let's
go to our front view, let's go in and create
a plane over here. And let's make this plane
right now I'm in meters. I would like to be
in centimeters. So let's go to
customize unit setup, and let's set this
2 centimeters. Okay. I'm just going
to go 1920 by 1080. And it will create a massive plane as you can see over here, and we
need to rotate it. But what you can do
is once you rotate it and I'm just going
to set this on zero, 00 and get rid of any of my
width and length segments, I can now just go
ahead and lower it down again. There we go. We now have a very simple
plane ready to go. Now, what I'm going to do is
I'm just going to go ahead and open up my material editor,
which is the first one. I'm not opening up
the complicated one, but the simple one. Since that's the one
that I like to use, it's currently loading in my
other screen. Here we go. Now what I will do
is I will just apply the first material to my
plane, then go up here. Go for a bitmap. And then I will go ahead and I will select that
reference image. So if we go sorry, not images, reference Mbat and in here, I can just go ahead and I can
try to find that one image, which is this one over here. Oh, yeah, it's a long image. So I will need to change
the format again. I'm just going to
go ahead and Gamma, press overwt because I do not want to add any type
of automatic Gamma, since it will make
my image darker. I then press Okay.
And there we go. So now you can see
that also, if I now just quickly rotate
it back this way, you can see that it's already
in the correct format. Actually, it doesn't look
like the correct format. It feels like h 1 second. Let me just check
what the format is of that image because, of course, we want to
go for that width, and it looks like the
width is sometimes a little bit wider or
something like that. Properties. Oh, yeah, here. The width is slightly different. So what I'm going
to do is I'm going to select this width. So that is 2752. So I'm just basically adding the dimensions of
our actual image. One way around.
Sorry about that. 2752 over here. There we go. And now I can just go ahead and I can scale it
down a little bit. So if I go now to my front
view, and in my front view, I want to switch from iframe to just like my default
shading view. And there we go. Scaling
for this type of stuff doesn't really matter because we are not scaling to real life. We are literally
just like scaling a texture which will
end up being baked. So make sure that your plane is set a little bit
behind your grid. The reason you want to
do this is because when we start painting our splines, we do not want to
paint our splines on top of our actual mesh. And at this point, what I like to do is I like to right click, go to object properties. And then I'm going to just go ahead and I'm going
to turn on freeze, but I want to turn off
show frozen in gray. What this allows me
to do is basically have this image
here and I cannot accidentally select
it when I'm going to create my spines. At this point, I
can just press W and go over here and
now I can start by just basically going to
the plus sign splines and use my line tool to
create a bunch of shapes. These can be super rough. I just need to go ahead and create the general shape
because we are going to, of course, manipulate this a lot and sculpt this inside of sbh. So here you can see
this one, I can press Okay, and that's it. So now I can just go ahead
and keep doing this. And I'm just simply clicking. The shape will
look really harsh, but there is no problem. Because that's what we're going to fix inside
of sea brush. It's just faster to do it here than to do it
inside of Sebush. I don't know if I
want to go for, like, these really large shapes. So I might want to, like,
scale this one down. And the reason for
that is because I do need to make it tiilable. If I have large, really defined shapes
in my material, what will happen is
you will be able to see it repeating when we actually tile it. So we
don't want to do that. So we are going to we will have differences in sizes
of our stones, but the sizes are not
going to be as big of a difference between
what you can see over here. For this one, I know
that, of course, it's going outside of the
view, but that's okay. I can just go in here, move it, and then I can kind of
just make up a shape. And let's see. So what
you also should keep in mind is that for every
stone that I place here, we will have two
variations because we can rotate the stone around
to get two variations. I'm going to go ahead and
I want to probably do, one, two, three,
four, five, six. Let's do seven variations,
and that should be enough. At that point, what we can
do is we can go ahead and have enough to start placing around our stones
in our texture. So for now, the more
variations, of course, the more interesting
your wall will look, but we don't need
a lot right now. So I got over here like
these tone variations. I can go ahead and just quickly move them a little
bit more to zero, zero, zero, keep
things organized. And next thing I'm going to
do is I'm going to go to my modify tab and I'm going
to add an extrude modifier. I have the extrude
already in my template, which is just if you go
to configure modify sets, you can create these templates. So I will not go over that. But what I'm going to do
is I'm just going to go ahead and set the amount, for example, to 2.5. Right click, convert Annapoli. And now I want to
just go ahead and select a few and
just press four. And make them a little
bit bigger or less big. Here, let's do this
one. Just to add a little bit of depth
variation on here also. And that they are not all
exactly the same. There we go. So we got a few
different thicknesses. Now, at this point, if we would export this to ZBrush,
we will get arrows. And the reason for that is
if I do edge your vases, it's because these
virtues are not connected and Zbrush
hates engons. So it will almost always break a model as
soon as it's Nangon. Now, instead, what I can do is I can simply select everything. I can go to my modifier list, and I can go ahead
and oh, wait, sorry. I don't need to go. I
can go and add a poly. Over here so that I basically am able to edit all of my mesh
at the same time. Press contra A to select
everything and then simply press the
Connect button up here to connect all
of your vertices. This might look really ugly, but don't worry because we
are going to rebuild all of this geometry inside of
Z brush using Dynamesh. So having these shapes, I can now go ahead and I can go, if you want, I can
actually save this for you. So just give me a second. Let me just go ahead and
I will probably create a, we'll probably save this
in the Texas folder. Stone on the score
wall. Over here. So I'm just going to
go ahead and call this base shapes and save. Next, I want to go at the
File export Export selection, and in the same folder, make
sure to export it as an OBJ. Call it base shapes. And then when you press
Enter, just make sure to set a preset to be Z brush. This is more a three
max thing inside of Maya and inside of blender. You won't have preset, so
the default is already fine. We can press Export and done. Awesome. So that was the
three years max part. Now, all that we have
to do is we have to go inside of Zebras over here. And as you can see, do you buy that I'm using
I'm just over here, using one of the
template is that you guys also have
instead of a custom one. And what I always like to do to prepare Z brush is I
like to go to document. I like to press Zoom to
make my window bit bigger. Then over here the range, I like to lower it down
so that I don't have that really ugly
strong gradient. Now at this point, I will
finish this chapter off by just setting up my models and preparing them
for sculpting, and then in the next
chapter, we can do the rest. If we go ahead and navigate to our OBJ while pressing Import, we can simply import our model, click and drag and make sure that before
you click anything else, you press it because
else you are re dragging in multiple
assets, as you can see. So I'm just going to go
ahead and watch again. Undo, click and Track
and press Edit. Now I can just click
in my view to rotate, Alt click to, of course, pen and I can use Alt or sorry, Control Alt, right mouse
button to zoom in. However, what I will be doing is I will be using a
drawing tablet, and I highly recommend
that you also use it. It's almost impossible to use brush properly
without drawing tablet. So when we start sculpting, I
will go ahead and use that. For now, however, I want to
go up here in the material. And I like to go for,
like, a basic material. It's nicer to look at. Next, what I'm going to do is I'm going to go
ahead and go to JomTre and over here
we have our dyna mesh. Now, the default setting is
probably too low resolution, as you can see, and you can see that they start to merge
together, which I do not want. However, what I can do is if I just go ahead and
go, first of all, to my poly groups over here, a poly group, basically, oh, wait, we already have
different poly groups. Each color is a poly group. It basically dictates what a model is so that you
can easily select it. If we go to geometry
and turn on groups over here and I'll set the
resolution quite a bit higher, it should not interact with
all of the other groups, which means that the
stones stay individual. If I press dynamis now, let's have a look how
that looks over here. And now you can see
that all the groups are separate and that is
looking pretty good. So now what we have is we have this wy dense geometry
that is super clean, and that allows us to later
on go in and start sculpting, as you can see over here, and I'm doing this
with my mouse. We can start sculpting
our actual rocks. So what I'm going to
do now is lasting, I'm going to go to Subtool. Go to split and press groups
split and press Okay, that shoot split your stones
into each individual stone. You can hold Alt
and click to select the individual stones over here so that we can
start switching to it. And you can use F twice. So press F twice
to fully zoom in. F once means zooming
into all of your objgs. Pressing F again means
zooming in on one. For the rest, we will
make a lot of use of the solo mode over here. And at this point, I just
want to press saves. I'm just going to go ahead
and call this one a Wow, stones single over here and
just go ahead and bra safe. Now we are ready to go, so let's go ahead
and continue on to the next chapter
where we will start by sculpting these stones.
21. 21 Creating Our Stone Wall Material Part2: Okay, so we are now going to get started by the
sculpting of our rock. At this point, I have used or I've grabbed my
drawing tablet. On my drawing tablet, I use the way on continuous
P. So I have, like, some actual options over
here where I can control the brush size using
my drawing tablet, but you can also, of course, use control here if
you don't have that. Let's go ahead and start
with, like, one single rock. Now, one thing that you might
notice is that these rocks, of course, they are
not flat on the front. They're like, quite
smooth all around, and then they have some
interesting variances on the top. What I like to do often
is, first of all, these variances, we can do those in multiple
different ways. So one of the ways
is that we can grab our clay buildup and
ignore this. There we go. We can grab a clay buildup
note and we can go in. Ah. It needs to be
like a square alpha. Just ignore it. It's like
I have different devstics. And we can literally
just start by basically just adding some
additional details like this, and we can do it also on
the other side to basically create variances in
height, like this. And this is if you want to be a little bit more
involved in the process. And once that is
done, you would go to your trim dynamic and you would grab a square Alpha and you would start by then
breaking things down. Don't worry. I will go over this more in detail on how to sculpt, but I'm just showing
you the various ways. So this is one way
of doing things. Now, another way
that we could slice, if I just go ahead
and Indo this. This is a way that
I don't often use, but we can see if it works. And that is that we
can go to our surface over here, tap, grab noise. Zoom in and we can go for some really large scale
noise, basically. So if you set a noise scale, quite large like this, and then over here, you can use these graphs to basically make your noise
bigger or smaller. This could also be in handy
weight just very quickly create some interesting noise. And if I press okay, so right now nothing
will happen, but as soon as I press Apply, you can see that it
pushes out this noise. Now, it actually doesn't do it as strong as I
was hoping for. I was hoping to make
it quite intense. So let's push it out.
Let's set the strength to like 0.3 or something over here. And now if we press
Apply bit too strong. Let's go ahead and go to
Edit and set this back to maybe like zero point uh maybe around 0.1,
and press Apply. And over here, yeah, that's not really doing
exactly what I want. But I hope that you can
see the logics behind it. I think just because
of the shape here, I can try to just push
out the shape and maybe make it a bit
stronger over here. And the general idea was that we art this stuff so that it
looks like really messy. And then we basically
go in and then we start by just using our brushes
to make this stuff. More flat again, as
you can see over here. However, as you can see,
this stuff creates a lot of problems around the edges and you have a lot less control. So you can also use Alphas
and that kind of stuff, but that's not what
we're going to use. So in general, the
method that we will probably use is the original method that I was talking about, which is that we go and use our clay buildup
brush over here. Make sure that Alpha is square. Then just go in, look
for some reference. You can see that it's quite bold around the center and it's tapering
off near the edges. So we can also go in here, and we just go in and maybe make our
brush eyes a bit bigger to get some of these larger
sug just very softly tap, as you can see, I very softly
tap my What's that stuff? That's weird. My pen to basically art some of
these details over here, and then later on I am going
to of course approve it. I on purpose, am leaving some dip sitting around this area just
because I sometimes see that that happens
in my reference. I can go in here and I can do this to basically
create the base shape. Now, please keep in mind that we are going to actually art our stone height map on
top of this later on. So knowing that, we can
keep the shapes quite flat. They don't need micronise
or anything like that. Now over here,
let's say that I'm going to. That's really weird. I don't know what
that is. You can hold shift and always soften it. Does it have to do maybe
with my alpha? We. I don't know. Maybe I
just have wrong setting, but it doesn't honestly matter, so I'm not going
to really fix it. I want to have over
here, I want to have this side to
be quite thick. Now remember that we have these two sides and we
will actually later on duplicate this rock and
rotate it around so that we have one additional
side that we can look. So you need to make
both sides look nice and not just symmetry it, make it look unique, basically. And then over here,
I can just probably, like, there we go, do
something like that. Yeah, that's weird. That
creates that cutting. I don't know maybe because
maybe I need to use dots. Mm. I'm not completely sure. But anyway, we'll
just have a look. Having that done, you
can, of course, also, if you want, you can also do
it on the site over here. So, for example, add maybe
some visual interest around those ends and make them feel a little bit less like man made or
something like that, over here, so I can
go on one side, and just like that,
I can just, like, decide how I want to
have my so to look. So let's say we have something like this. Looks quite ugly. We can now go ahead
and hold shift, and let's just go ahead and
smooth this whole thing out. And that's mostly to get rid of those weird booms over there. And I will investigate
that for the next rock. But basically, we are smoothing this whole thing out over here. And now that that is done, basically the brush that
we will use most is our trim dynamic brush and
just make sure to make the Alpha to be like a
square alpha. Hey, wait. Maybe that's the Oh, no,
that's not the problem. Make the Alpha a
nice square Alpha, which is Alpha 28. And now what you
can do is if you play around with
your focal size, on default, your focus size is quite a soft
fall off over here. If you set your focal shifts
or your focus shift lower, you get a sharp falloff, as you can see over here, which might look a little
bit more rocky. So having that done, we are
now going to basically go in and hammer away simply by
clicking and dragging, and I just randomly
move my mouse. Sometimes I go left to right, sometimes up to down,
sometimes I go in circles. It's not really
important because we are only working on
base shapes right now. And you often hear that with sculpting like you
want to, first of all, just go ahead and, like,
almost like sketch it. The only difference with
that is because we have a really good base color and everything ready to go
already in our material, we don't really leave
the sketching phase. The sketching phase
is going to be like our final phase already. So you can see that over here, and I do sometimes,
like, try to fix it. I do try to, like, get some sharp edges,
sometimes a little bit. But most of this stuff, that one is really weird. I'm just holding shift to
basically soften it out, and then I'm trying
to get rid of it. But most of this stuff is just like simple
trim dynamic work. Later on, when we start actually sculpting
our larger stones, we might want to go a little
bit more detailed with this. But for now, we're just going to go ahead
and basically here, just sculpt these rocks. You can also go ahead and you
can hold alt to basically add a tiny bit of extra
geometry using this brush, and then you can,
like, sculpt it away again, bit like this. And sometimes that's easy,
especially over here to, like, fill in some weird
cracks that we have. And something like that. So I'm now just going to go
ahead and go over this rock. And once we finish this one, then we can do like a
quick time maps with the other ones because
they are the exact same. And it's not something you
can exactly replicate. It's something that just
has to come from you, where you can decide how
you want this to look. So I'm just going to go
ahead and I want to kind of, like, merge these
two pieces together. And maybe over here like
a bit of a flat side, so I'm just painting
in flat side. But honestly, I'm not even
really thinking about it. I'm literally just
focusing on just removing any edges that do not
feel natural over here. And I want to make these
rocks quite smooth. I don't want to have them
like the typical sharp rocks. I want them to be like
quite smooth rocks. So like over here, you can see that especially
around these bases, I'm just like painting a lot
to make them nice and soft. And also, if you have the
really typical square look, just try and go
over it again using a circular motion or by going into the opposite way to kind of get rid
of that look, see? So if you go this, you can
see that typical square, and then I can, for example, go around or a little
bit sideways over here, or just go over it again, and that will minimize
that look a little bit. Because else it looks too Zebrhy and you don't
really want that. So what you can also see is
that when we are sculpting, you can see that
it's starting to define a little bit more
of those rocky shapes. Just by very quickly sculpting, I can see like, Hey, wait, I can use this as like a face, and this can be like
another face over here. So I can create some visual
interest in those areas. Same over here, I
can use a face here. And then this face,
bends down a little bit. And then over here, we
are just going to, like, softly blend these faces
into the other side. So it's up to you to decide
how you want this to do. You also want to
make sure that the differences is not too intense. So over here you can see
that this is quite intense. I can see if I can
just fix it by holding Alt over here and just adding some
additional geometry and then painting that
geometry away again. And I think for now that works, and else you can just use your clay buildup tool to
basically re art that again. So yeah, this feels like
it looks really ******, or it looks really weird
and stuff like that, but don't worry about that. Like for now, this feels fine. We will do another pass
over it at the very end. But let's first of all,
focus on this one, and I'm just going
to fill up this space a little bit more. And around here. Yeah. And now let's just go at it
and get started by chipping away at
all of these ends. And in the end, you
kind of want to have touched every piece
of this stone. So this is also like it's sculpting in general is
quite time consuming. So it is parts that we
will be time lapsing once I've already showed you how to do it just to avoid all those really repetive parts. Now, over here, it feels a
little bit too deep for me. So what I'm going to do is I'm
just going to fill this up by rotating my mouse and
especially like around here. And there we go. Now
let's go nice and flat. And then over here, I want to actually also make this like flat blend in because I'm
going to go for smooth stones. In a way, smooth stones are both the easiest
thing to sculpt, but also the hardest, which I know doesn't
make any sense. It's more like to get it
white because you can make sharp rocks look cool very quickly just by adding
a lot of sharp edges, but they are not
always very logical. While smooth stones, they can be a little bit
more illogical, but as you can see, like,
it doesn't always work. So here, I'm like, just flattening that
out quite a bit so that it kind of blends over into the rest of the
stone a bit better like this. And then over here,
I'm just going to also flatten it out a bit. There we go. And let's put
mache for these stones. Then later on once we have
all of them sculpted, we are going to place them
in a way that they are tilable and then we are just going to go
ahead and bake them, throw on our already
existing stone texture, add some more localized
dirt and leeches and stuff like that that we can
then derive from the masks. And then we already have
a pretty cool stone wall. And I also don't want to spend, a huge amount of time
on this stonewall because half of it will
be hidden by foliage, and it is by far, not
like the centerpiece. But because it is quite
close to the camera, I still want to make
it for you guys. There's also stuff
like those rocks and everything that are in
the background for which I'm just going to
use like mega scans because I'm not going to go over on how to create
an entire rock for something that's just
hanging out in the background. We just call those like
sta assets and don assets. Et's go here, here. Sometimes I'm still
using shift to soften my mesh if I feel like that I cannot really get
it to look right. Also, sometimes, if you feel
like if you go to your poly, if you feel like
your polygons are a little bit too stretched and they are not looking very good, you can always go into Jomtre and you can do another dynamesh. I personally not going to do it, but you can go ahead and
then like art bit extra. However, I feel like that
this stretching can also be resolved just
by holding shift. So let's have a
quick look around. So we have this really
messy looking rock, but that's nice because
we can kind of, like, use it or place it
in many different ways. I'm just going to add, a
little bit more space here, just like kind of
blend it because I want this to not have really deep or very
quick changing values. Here, I'm going to
soften that out. I want to, like,
all softly change. So something like that
works, maybe over here, let's hold Alt and just kind
of like blend this one out. And also over here, let's
hold alt and just kind of like blend this base over here. Make it extra soft on the
corner. There we go, see? And you can see that
I'm still trying to get a few hard elements in here. But I also know that most
of those harder details, they will kind of be lost by the time that we
have a final texture because we are going to
manipulate these shapes further on inside of substance. So I'm now just having like
a look around this side. And like over here, this feels
like a little bit strange, where it goes from,
like, dented in out in. So what I'm doing is I'm just
going to go ahead and I'm going to kind of,
like, over here. Turn this into a
nice soft blend. Like that see that feels already right away
a bit more natural. I can go in here and just add
like a few harder angles. Same over here. I can go in here like add a few
harder angles just by enhancing some of
those already flat areas. Maybe over here, I'm going
to fill it in a little bit. And then this kind of stuff, I'm going to make quite soft. Uh I feel like this one is
a little bit out of place. There we go. So we
go nice and soft. And then over here,
we want to go ahead and smoothly transition again. Same over here,
smoothly transition. And there we go. And I feel like
that at this point, we have a pretty soft
looking bumpy rock like that. Okay, cool. So that's pretty much it. And you can see like
that is, of course, quite a difference already
compared to the rest. But you can imagine
when this is all, like, I don't know
how it is like this. When this is all, like, placed together and really close
together and everything, it will look a
little bit better. So at this point, I'm going
to go ahead and once again, save as and just save my stones. And now let's go ahead
and kick in the times where I will be sculpting
the rest of these rocks.
22. 22 Creating Our Stone Wall Material Part3 Timelapse: Oh. It n. And D. D. D. D. D. D. D
23. 23 Creating Our Stone Wall Material Part4: Okay, so I now have finished
sculpting my rocks, and I also switch back to my mouse right now because I don't really need
my drawing tablet for this. So as you can see really basic
rock shapes, quite simple. And yeah, they just kind of
like follow these shapes, but, of course, without
all of the micro detail. So that is all totally fine. Now, what we're going to
do is we are going to place this in a manner that will become table so that we can later
on bake it down. And we will be using Zbrush. Oh, sorry, Zbrush, we will be using marmoset Tolbac
for the baking, but you can also do
it inside of painter. So having this,
what I'm going to do is I'm just going
to go to my actually, first of all, I want to go in, and I need to just merge
all of these tools. So let's just press merge down. Yes, and just click a bunch of times until all of them
are merged together. Don't worry. They
are still separate, as you can see in our subtols
when we click on the line. It just makes it
easier to manage. Now I'm going to go ahead
and click on my tools over here and go for a plain
three D. And at this point, what I first of all
I want to do because we are going to work in a square environment since our plane is square
and texts are square, it's easier if our
document is also square. So what I'm going
to do is I'm going to turn off Pro and set this to 1024 by
1024. Don't worry. We actually will be baking everything down in
four k resolution, even though we
don't need four K, but it's always good to go high. So just press crop
and press Okay. Now, your document will
be broken right now. So the first thing that you want to do is you want to press Control N to reset
your document, and then you want to click
and drag in your plane. If you hold Shift while
clicking and dragging, it will become
perfectly straight. And then just press Edit
again. And there we go. So this plane, we need
to go ahead and press make poly mesh three so that
we have our options on it. And why would we make our
document square? Very easy. If we go ahead and we
rotate this and we press F, sorry, we just switch to
our front view and press F, you can see that
the plane perfectly fits or fills our document, and that just makes it easier
for previewing purposes. Now at this point, we
want to do is we want to get our stones in here. So I'm just going to go
ahead and press Insert and just grab your wall
stones single over here. Now, the next thing is that
they are a little bit big, so you can go to your
move tool over here. You can scale them down to
the point that you want. I'm probably going to
scale them down up until around this
point over here. And I can decide, like how
far in I want to push them. Now, as you can
see these stones, they are pretty much placed
on top of each other. They do not actually
have a lot of cement, although I can see a little
bit on the top, I think. But naturally they just
place those stones on top and they place like sand
or something behind it. And just because of the weight, everything
stays in place. However, this wouldn't
really work well when we are making a texture
because we cannot have super deep holes over here. It will not work without
displacement and stuff. So we are just going to use cement to basically
fill up the racks, and then later on
inside of reel, we will actually add some nice geometry moss on top of it. Thanks to Nanite. So
this pretty much fine. Now what I'm going to do is
I'm going to go ahead and I have these rocks over here, and I'm just going to go ahead and duplicate
them because, remember, we made
two sides of them, so I can go in here and I can
hold Shift and then rotate these 180 and just make sure
that they are still kind of. Of course, don't worry. We will place them
correctly later on. But now you can see that we have two variations of
our rocks over here. At this point, what we can do is we can go ahead and we can just press split and do group
split and press Okay. And also over here, group
split and press. Okay. Then you can remember. Oh, sorry, accidentally,
can you know that? There we go. Remember, you can hold Alt to click
on the Subtool. Now, when you click on the Subtool and you
go to your move, you can see that the PIV
point is a bit messed up. Just go ahead and press this
little button over here, which will snap it
back into the center. And we just want to go ahead
and do that for all of them. So I'll click and just move
them all into the center, and then we have some
stones ready to go. Now, the next thing
that I'm going to do is if you just give
me a moment over here. With these stones, I like
to already give them some initial rotation
because we are, first of all, going to place these stones on the edges
to make them tilable. However, those edges,
they need to be when we transition from the left to the right or right
to left, doesn't matter. It needs to be
perfectly aligned, which means that
we cannot rotate those stones after
we place them. So that's why I like
to always already, give it a bit of, like, nice uneven rotations
to save me some time. And make this already, like a bit easier to place. Let's do this one like that. And, of course, all the stones that we
place in the center, which do not have to be tiable because they're not
touching the edges, those we can just, like, do
whatever we want with it. Okay, so we have
this. Now, I'm just going to go ahead and
oops, not that one. Wh way is it? Unlock, reset. There we go. You want to
go ahead and just press the unlock button and then reset your pivot to make it straight. So unlock reset. And actually, you
can just leave the unlocked button because
unlock button will always stay on
until we place it. And this is just to
basically remove those rotations on our pivot, which will make our
placement a little bit easier when we actually
move stuff around. So it will not shift
back and forth. It will just shift on one axis. Over here. I think
that's it? Yeah. Okay, so how are we
going to handle this? Now, if you would be creating
a texture with, like, a lot of stones, like hundreds or something
like that, like, a lot of placements or if
you are creating just like a lot of tilable materials
and Zbrush in general, then I do recommend
that you use a plug in. There are many plug ins
out there, so you can just look for Zbrush
tilable plugins. However, we are only
making one val, so I'm going to do it like
the old fashioned way, which is just manually. And basically, you grab a stone. Oh, make sure to turn on the lock over here that you
actually grab the well, so you grab a stone, you place it in a position
that you like. Like over here. And I always like to start
with the corners, so I place it in a corner. And then what I like to do is I like to go ahead and
go to the defamation, and technically, the position of your pivot should not matter. You want to go to
your defamation. And because this plane is always the same dimensions inside of sbh you want to set the offset to twice
because every offset, let's say, is 512, so you
can see perfect center. Oh, sorry. Make sure to go to
subtols and plus duplicate. And actually, sometimes
this is a bit buggy, so I'm actually going to save
my scene before doing this. Stonewall tilable
safe. There we go. Okay, so as I was saying, defamation and the offset, it goes by 0.5 or 512,
whatever you want to call it. So we do one, and then you know this is exactly
in the center. And then we do another
one, and now you can see that the transition
is exactly the same. If we would now go, for example, to our wall and press F on it, you can see that over here, the stone wall is
exactly the same. Now, because this stone is
actually on the corner, we also need to move it down. So what we can do is we
can duplicate again. So the corners are always
like the most work. And then we want
to set the offset in the, I believe, the Y. Yes, 12, or you can type in 200. That's also option here. So you can press duplicate. I just don't always feel
like I'm really in a rush, so I can set offset to Y, and I can type in 200. Oh, I guess you
cannot type into 100. I guess that's why I
always did it this way. I thought being
smart, but I was not. Anyway, so we now have the
zones in four corners, and now you can see that if
we press F on our plane, you can see that now everything just properly transitions. That's the general gist
of it. I can now go in. I can grab a different one. Like I said, like I
said, like over here. And I always like to try
and place my stones, of course, a bit
in a logical way. Like this feels a bit
more logical where the stone kind of follows
the curve of that stone. And this one we only need to do in the Yaxs so we
can just go ahead and duplicate defamation one, two, grab the next stone, which I like to have the smaller stones
probably on the outside. But actually, maybe it
would be good to have, one of the longer ones
because if they are small, you might be able
to see the tiling a little bit too good. So this one, I'm
just going to, like, go ahead and stick
out a bit more. Yeah, that works for me. Subtle duplicate
defamation. One, two. Now let's go for,
like, a big one. Let's do like a
big one over here. And what I'm going to do is, I'm just going to go ahead and probably let's move it, like, sideways a bit because you can see that these stones are often like placed really messy. So I'm going to go
ahead and do this one. And that is looking,
it's looking fine. And let's go ahead and
just duplicate defamation. One, two. Over here. Oh, didn't register. One, two. Sorry, my phone is going off and it distracted
me for a second. Even though it's all
silent, it's next to me, so I can actually see
when it goes off. Um This one over here, we have not used yet,
so let's do this one. Let's move. Try and place it. And sometimes you just
want to go ahead and if the movement or the
placement is not perfect, you can just go ahead
and scale things down a bit like this super
flexible these stones. So I can go over here
and I'm going to make these like touch almost
like touch both of them. And let's also go ahead and sometimes you can
also this outer ring, this gray ring, it basically rotates based on your
screen position, which you can also
be nice to use. So we got this one.
Duplicate defamation one. To? Okay. And now
what we want to do is we want to do
basically the same for the top pieces over here. And for that, let's say that I'm grabbing this one over here. Be rotated because it
feels more natural if it's a bit in the corner over here. Yeah, let's do
something like this. Like, I just has to
touch the outer side. It doesn't have to be like super exactly in the center
or something like that. Just at the touches. It
just has to touch it. Sorry. So let's do
something like this. Add a little bit of like a rotation just to make it
look a bit more interesting. And once again, jomtre not
jomtre, subt duplicate. And this time, go ahead
and set the offset to the Y axis 12. Okay. Now, the smaller stones, I like to call those
filler stones. However, it might
be good to have, one of the fillerstones, sitting a bit, like in here, just to make it
fit a bit better. Or to make everything feel a bit more organic,
stuff like that. So let's go ahead
and duplicate it. So yeah of course, doing
this with plug ins, it might be a little bit faster, but you would need to learn
an entire new plug in. And it's just easier if we just do it this way
for this one time. Let's see. So of course, we are re using stones. So you kind of want to
see like this stone, we used quite recently. So I want to, like,
try and grab a stone that we did not
really use recently. So this one is used
like down here, and this is also
even the other side. So I'm just going to go
ahead and move this, like, nicely in here. Maybe rotate it
forward a little bit. Geometry, I keep
pressing geometry. Subtool because normally you spend a lot of time
in the geometry tab. That's why I have the
urge to go there. And once again, we set our offset. So this
pretty much it. At this point, I mean, actually, like this banana shape one, I don't want to use a lot. I feel like it's too obvious. But yeah, this one
I'm going to do. Because this one's here.
This is the general point. Of course, if you
want to this point, you can just speed up the video. What I will do is once
I have all the corners, the placement inside of here, I will just time maps because it's literally
just like placing. I don't like that one.
Wait, I am using. No way, this is a different one. So I should be able to use it. I was a bit worried because it looks similar
to the stone next to me. What if we use this
one over here. Let's go ahead and
duplicate this. I feel like this
one might fit here, see it might fit a little
bit better in this last gap. And I'm going to also scale
it on the YXs a little bit. Feel free to do that
kind of stuff if you ever feel like it
will add something. And I'm just going
to go ahead and also scale it just like in general, and maybe rotate it a bit
Yeah, that should work. Okay. Awesome. So the last
one, duplicate again. And now we can just go
ahead and offset it. So we now have a tilable
barrier created, and the rest, what
we need to do is just fill the
center with stones. So if we now go, for
example, to a plane, you can see that over here, this has now become like a
nice tilable barrier. And at this point, it's
literally just a matter of grabbing the pieces you want. Finding a nice
location for them. So let's say that this one over here is like a nice location. Though also make sure that you give it a little bit
of height variance in here and not just like place
it very quickly and messy. This one over here, you can see, almost like a perfect fit
to nicely place in here. Feel free to add some rotations,
and that's basically it. We are just going to keep
duplicating, placing assets. You can scale them, rotate
them, do whatever you want. These type of valves are super flexible when it comes
to that kind of stuff. So just place it
around over here. So let's go ahead and kick in the very short
time maps where we will just be placing
all of these assets.
24. 24 Creating Our Stone Wall Material Part5 Timelapse: A D. Don't do. Don't do. Don't do. Don't
25. 25 Creating Our Stone Wall Material Part6: Okay, so we have now set
up all of our stones, as you can see over here, I can just zoom out. That's
looking pretty good. And also make sure to
always look at it from the side to make
sure that it feels a bit logical and none of the stones are sticking out
too far and stuff like that. What I'm going to do now
is I'm just going to go ahead and work on the
concrete below it. Now, the first thing
that I like to do is I like to just go ahead
and press Export. And when I have my plane selected, sorry,
that's very important. Make sure to have your
plane selected, export it, and then we can go
ahead and export this the low pol over here. And that way we have low pol, and now we're going to work
on the concrete below it. So the concrete is going
to be pretty subtle. I think I'm not going
to make it too intense. First thing that I want to do
is, I just want to go ahead and go to solar mode
and have a look. Okay, so we definitely
need a lot more geometry. So what we can do is we can
go ahead and press subdivide. Oh, sorry, make sure it turn off smooth because L
the edge is smooth. And let's go ahead
and just press subdivide to, let's say, like 250 K. Sorry, if I just go outside
of my mode, 1 second. Let me grab my drawing
tablet. Let's have a look. So if I now go ahead
and use clay buildup, Yeah, we can live for
that. Okay, cool. So let's go outside
of solar mode. At this point, we can
just go ahead and press F to basically zoom in. And now it is more a
matter of just going in here and start filling up these cavities by
simply painting in with our clay buildup. And what you can
see is over here, we want to have it pretty deep, so we don't want
to fill it up up until the edge or
something like that. But just when you can start seeing that the concrete
is starting to, like, wp around
all of our stones. So you just want to
kind of like, and then around the edges, we need to be a
little bit careful, but it shouldn't be too bad. Because I do want to
keep this tilable, so I'm just staying away
from the edges mostly. Because I will just like
there are ways where we can use warping to basically warp from one side
to the other side. But honestly, because
it's so subtle, if we just stay away
from the edges inside of design and we can fix all of this stuff.
So just go in here. Oh, that one's too far,
so then I just hold Alt to basically paint it out again. Let's have a look. Over here, see that I not miss anything over here
it's a bit too much. Alright, over here, I missed
an entire corner, actually. So here we go. Very easy. I'm trying to keep this material
quite simple in general, just for the people
who do not have as much experience and people who do have the
experience they can, of course, just like, improve
things however they want. So that's working pretty good. So you can see, we have, some of the concrete sitting
in between over here. I'm now looking at it from different angles to
see if I can fill it up more in certain places just to make it feel more visually interesting. But the concrete is more here, just like as a support to
basically show that the stones are being held on by
something a little bit. And so that we have
something for the background color instead
of just going for, like, a black background
color because it's so deep. Of course, ambitoclusa will make these areas quite dark because
they are quite far down. But that is something that
feels more natural then. So we are going to make this
like a nice concrete color. Over here, I can go maybe
a little bit higher. When we go into
solo mode you can see that it looks
really silly over here, but that's no problem metal. This is just what
we need to have. So let's do this.
I miss anything. I don't think so. Okay, so now at this point, what we can do is just give it a little bit
extra because right now, of course, it looks
a little bit noisy. I am going to actually subdivide this to around 1 million. I might need actually
more, but we'll see. And I'm just going to go ahead
and I'm just going to give the very quick slight
smoothing all over. Over here just to get rid
of some of those ridges. And then what I'm going to
do, I'm just going to use my noise modifier to basically give it a little
bit of additional noise. And for this, we can go
to surface and noise. And in here, we can go ahead and first of all, zoom in a bit. You can set your noise
scale over here, so I'm going to set
it quite large. And the strength is
often already fine. But what I like to
do is I like to use this graph because
with this graph, by clicking and
selecting points, you can make here, you can make it feel a little
bit more like concrete by controlling your
noise pattern. So we want to kind of push it in Over here,
something like this. So, just giving something
then if we pass okay, and maybe look at it here, see? When we look at it in here, you can see that it
looks quite nice. Now, if I now go ahead
and press Apply, I just need to make
sure that I have enough resolution, press Apply. Then you can see
that we are actually losing quite a bit of detail. Let's subdivide this to 4
million and let's try again, surface and press Apply. Yeah, I can live with that. See? Now we just have some noisy
concrete sitting below it. Awesome. At this point, what we are going
to do is we are going to get started
with the exporting. First of all, make
sure to just save over here all of your stuff.
Give the second to save. And now to export
all of this stuff, what I tend to do, so, yes, we have the plane, which is
going to be a high poly. Often, if I'm lazy, although it doesn't
work perfectly well, I just go to the Z plug in and let's just
move it over here, and I often just go to
decimation Master and export Subtools because
I like to export as OBJ. You can export all
of this as an FBX, but we have 24 or almost 25
million polygons or points, actually, so I
don't know exactly how many that is
translated polygons. But if you just press
the Export All Subtools in the decimation master, we can go ahead and
just call this HP. And we can go in and
just press Save. Now what it will do is it will export all of our
stones and of course, our concrete all at the
same time. And there we go. Now what we can do
is we can already start with the baking process. Now, sometimes it freeze a bit. The baking process is
actually really easy. So if we just go
ahead and open up Mm set tool four and you can also do this
in substance painter. It's almost the
exact same workflow. So I'm just showing you
how to do it in Mm set, but you can easily just look up online substance painter
baking or if you want, when we get to this point, although I don't know if we need to do high poly to
low poly baking, but I could show you one
inside of substance painter. But honestly, it is very, very easy, so it would
be a bit overkill. Now, inside of Mom set, what I'm going to do is I'm
going to go ahead and create this little or click with this little bread
icon over here, which gives us a baking project. I'm going to straight up go
to file and save my scene, and I want to go
ahead and save it as textis stonewall bake scene. There we go. Next, I want to click on my low and turn
off the outer bake, because lst will try bake when
we are not even ready yet. I don't know why it's
turned on by default. Now if we go ahead and go to our textures and our
stone wall over here, we have our high pool
and our low poly, so we can just go
ahead and select both of those and simply drag it in. Now, 24 million polygons
is quite heavy to handle. However, Mom said, if you
have a decent graphics card, you should be able to handle up until up until like
100 million polygons. If your scene is
slow, so, of course, importing is always
slow. Here we go. But if your scene
is slow, you can go to Render and make sure that use rate racing is turned off because else, it
will be even slower. Now I can see over here right
away that unfortunately, we have a bug where
as I was saying, sometimes this happens where it doesn't export
all of the subtols. So the reason one way
that you could fix this is that you could go
inside of brush and you could basically merge all
of the subtols into one. Not only will this make
your PC really slow, but the problem with
that is that we want to actually assign
different materials inside of marmoset in order
to generate very handy mask. So I actually want to keep all
of these objects separate. Now, what I did something off camera just because
it takes really long. You can see how quick
this hypol was. Unfortunately, it doesn't work. Sometimes it works, so
it might work for you. But instead, what I did now is I just went ahead and went to Export and I exported
a hypol FBX over here. If I just replace
it, I can show you. And then in the export settings, you just want to go ahead
and you want to make sure that you press in the export options
and just turn off embed maps. Just
going to cancel this. Now, exporting Sin FBX, such a large scale file,
it will take a while. So I just went away for like 5 minutes because it took around 5 minutes to export, and also importing will probably be quite a bit slower since FBX just isn't as good
in handling high polis. But let's just import
this high Pol FBX, and this should be correct. So I definitely do hope
that that is the case. Since I have no idea how long it will take
to import this, I'm just going to pass the
video until it is done. Okay. So it is now imported, and that is looking
already good. It came with a bunch of
materials because it tends to, like, for the FBX, have one material pudding. I don't like that, so
I'm literally just going to go ahead and keep
pressing delete for, like, a little bit. What can I multi select? Come on, Maoist, you
should be able to, like, somehow do
like a multi select. But yeah, so it
takes a second to, like, get rid of all
of these materials. But basically, what we're going
to do now is we are going to assign different
materials to our high pol, and these materials will basically just be
simple colours. The reason for that
so that we can actually use those
colors as masks. And this way, we can,
after baking, like, create a mask from
every different stone to then in substance
designer use it for, like, different types of colors and masking and
that kind of stuff. So it's pretty much done now. So what I want to
do at this point is I am going to
place my low pool into low my high poly into the high and it will
automatically height, but you can just
turn it back on. Turn off your low poly. I'm going to basically
create a bunch of materials. Let's do we need a few. So let's do 0102. You can see that it is running a bit slower because, of course, we are rendering quite a
few polygons over here. I have no idea how many,
but why is it not working? Zero, four, come on. And 05. Some reason here. It's not always catching up that I'm trying
to change the name. Let's try 06 also. 1 second. At this
point, I just want to move my drawing tablet
out of the way. So okay. We have this. Now, basically what
you want to do is let's go ahead and grab,
for example, over here, our plane, and I'm going to just dry zero onto our
plane over here. At this point, you can go into the color and
you can give it like a very specific
color, for example, red. I can do this with
every material. So this material,
I can make blue. And you just make sure
that like the colors, they can be quite
close to each other. But just make sure
that they are as different as you can
get if it is possible, because it will make the
masking process easier. If they are very specific,
different colors, like going from yellow
to green and everything, it will often make the masking process quite a bit easier. Now, I feel like we
probably need a few more, so let's just go ahead and
duplicate this and call this 107 because
the more masking, the more flexibility
we have, basically. And this one will be 08. Okay, so 07. Now you can see
that I just want to kind of, like, go in here and
then gonna go for, like, a slightly
different green. And then for this one,
I want to go for, like, a Yeah, let's go for this
type of green over here. Okay. Awesome. So now what we want to do
is very important. When you are selecting
these stones, you can hold control
to select 2 stones. You need to make
sure that these two. Oh, I guess you cannot
do multiselect. You need to make sure
that these stones are all like the same. So if I make this
one over here pink, the opposite one also
needs to be pink. This is, of course,
because it is tilable so we want to be able to
mask the same stone. Since in our tilable
texture, for example, these four are all the
same single stone. So I can just go in here and
I can drag on my materials. And I also want to
make sure that I do not place the same
colors next to each other on our border because
that just won't look as nice. So we can go in here.
Actually, this one, I want to change because it's
like the exact same thing. So I'm just going to go ahead and I'm going to make this one. Let's do one more. Let's
duplicate, called a 09. Let's make this
one like a really pink color, something like that. And so, just make sure here. I can see that it's quite a decent difference,
so that's fine. And then I also want to
go ahead and just make this one yellow over
here like this. Okay, awesome. Now,
at this point, it's literally just a matter of, like, dragging on your materials until all of your
objects are filled. And I like to do
this, of course, manually because it gives
me more control over, like, which material I
want to place where, just to make sure that
they are quite far apart, which will hopefully
give us, a lot of interesting variation
in our stones. So here, I can see
like a yellow one, but here there's no yellow. I can make this one. Actually, I don't also make sure
like the stones. They do not often use the
exact same color if they are the exact same stone because
it will make it too obvious. So I'm going to actually go
ahead and make that one. I can also not make it pink. It's an annoying
one. Yeah, let's make it like this
color over here. Let's make this one
pink over here. Let's make this one yellow. Let's make this one blue. Let's make this one,
like purple, light blue. Here we can have an orange, there we can have a green, another yellow here,
another pink there. Let's do some smaller
ones and make those blue. And then this one over here, I'm going to make probably
like this color of blue, like a lighter blue over
here. Doesn't take too long. I personally find
this quite relaxing, just basically
dragging and dropping. And I like to just do it by
hand just because it gives me a lot more control
over exactly what I want. Let's make this one
over here blue. Let's make this one over yellow. This one orange. Let's
make this one also orange. Let's see what else do we have? We have like a light blue that I can I know wait because
that one I'm already using. Let's go for, like,
a lime color. This one can be pink.
And the last one will be let's do
orange over here. Okay, awesome. So now we
have created our mask. Of course, this might look
very shiny and everything, but when we bake
this down, it will be just like flat colors. So that's good. At this
point, we can save our scene. We can set up some of our baking settings, and
we can start baking. So at this point, Oh,
God, it's freezing. Okay. At this point, I want to make a folder
called bakes. Over here. And if you just go to your
main bake project over here, you can set the output, and we're just going to go ahead
and set this in bakes. I like to export this S PNG so that I
can quickly preview it. And just call it stone
wall and press safe. Now, I like to set my samples to 16 samples just to give
it a nicer quality. I like to go ahead and
set my format to 16 bits. The reason for
this is because we are going to make a height map. Height maps need to be 16 bits, and it's just easier for me to just make everything 16 bits. And then later on, I can
always just switch it back to eight in designer, for example, because, of course, the only one that
really needs to be 16 bits is the height map. However, if you leave the
base color and stuff 16 bits, when you input it
into Unreal engine, Unreal engine gets confused and it will apply different
compressions. That's why you want to try and make only the height
map 16 bits often. Now in the configure, we
want to go ahead and we are going to make
let's have a look. So most of these we can
generate in designer, so we want to have
a normal, a height. Let's also do a position map
just in case we need it. Let's have the albedo. The albedo is basically
those colors over here. So we want to go ahead
and have that one. And also an ambient occlusion because those often
also bake better. Maybe also curvature, just in
case let's do a curvature. Sorry, I meant to set this
to four K force of habit. When I do photogrammetry, it's eight K. Now having these, the only thing that I need
to do is in my height. These default settings are
often never good enough. I want to set always the
inner distance to zero, and the outer distance, the higher it goes, the further out your
height will calculate. So I'm going to start with two. If you have, for
example, a really heavy rock material over here, you might want to go
even to like five or something just for it
to properly calculate. Now, something very
important, click on your low. And then make sure that
your cage over here, as you can see, is covering your
entire hypol because else I will only capture whatever is in
front of the plane. If we go ahead and
move it here, we, of course, cut off our
shapes as you can see. So just have it just above
to have everything captured. At this point, we are pretty
much ready for baking, so I'm just going to
save my scene over here. And I will pass the video, and then I will go
ahead and press bake because it might take a while, and it will slow down myc
quite a bit. Okay. Awesome. It is done. So if we
go to our Beto map, you can see because
it's just the color. It has now generated for us a really handy mask
that we can use. Our ambient clusion is
looking super stylized, but it's looking cool. Then we have our curvature
over here, which is okay. Here we have a height
map, and I can see that the height map
we need to push more because you do not want to get these really solid white
cut offs over here. And our norm map is also
totally fine, ready to go. Our position map is really
difficult to even see it, but we probably won't be
using that one anyway. Yeah, you know what?
I don't need it. I'm going to get rid
of my position map. Over here, I can just go
ahead and turn it off. What I actually want to do
is I want to turn everything off because everything is
fine except for the height. It will only bake what we have selected. Let's go for four. And then press bake again, and now it will be quite quick because we have
loaded in a hypole. So now if I go in, you
can see that now we no longer have those Wi
whites that are pushed out. So this is actually a
really nice hypoly bake, as you can see. And at this point,
we are ready to go. Now, the last thing that I
could do just to show you, is if we go ahead and
open up designer, we can already, create a designer project
for the next one. So I will go ahead
and I will save Mamset over here. Now, come on. It might take a white to save, so I'm just going to go
ahead and go back to your S here, we can close. And I can go new
substance graph, and we are going to
call this Stone. Wow. Yeah, easy enough. And just make it
metallic roughness, PBR, all of that stuff. Close our TDE Vew. Now, what you want to do is
you want to go ahead and just grab all of your
maps, track them in. And normally I do link resource. However, because this is a tutorial and I need
to share my files, I will press Import resource, and then I'm going
to press Okay. This way, it will also
already be in this package. So when you open it, it
should be there and you shouldn't need to
relink your assets. Now over here, what
we want to do is this one can be gray scale, this one can be gray scale. Those two need to be color, and this one can be gray scale. The moment of truth,
let's go ahead and load up our norm
map and see if it's tilable by pressing space over here as you can
see, perfectly tilable. Not a single pixel out of place. So we did a really
good job over here. I can see some small
pixels over here, which is just for our concrete, but that's a very easy fix, so don't worry about
that. And there we go. You can see also
when I zoom out, we did a pretty good job not making it feel
super repetitive. The banana shape looks
a bit repetitive, but for rest, it's totally fine. Awesome. We now
have this one done. I would say that I no, no, I don't need to rotate it. This like fine. So at this point, I'm
going to go ahead and just save this
final package. Into our stone wall. And
in the next chapter, we can go ahead and get started by creating our base color and our additional height and no map details for architecture.
26. 26 Creating Our Stone Wall Material Part7: Okay, so let's go ahead
and get started by turning our shapes over here into an actual
final texture. Now, for this, what we need is we will mostly need
our stone material. So what I'm going to do
is I'm going to open it up our stone master over here. And I'm also going to
switch over to, let's see. I'm just going to close
sebush, close this. And basically what
we want to do is, so we already exposed
all of our materials and all of our parameters and everything that was the
most important part. Now what we can do is we can
go into our Stone Master, right click and press
publish dot SBS AR file. This file basically
allows us to, like, it's a compressed
file so that we don't need to have this entire
graph inside a substance, which allows us to have all of those exposed
parameters available. I'm going to go ahead
and for the part, Let's go ahead and go in here. Yeah, use this text for them, press Okay, and then we can just go ahead
and press publish. And now what it
will do is it will have created over here, you can see the
stonemaster SPSAR. Now if you just double
click and go back to our Stonewall, it
is quite simple. All we need to do is
just drag in that file. There we go. Now we have the
file over here, ready to go. Of course, this file is quite slow here 4,000
milliseconds to update, but that's of course, if you
want to update everything. But here you can see
that we have all of our presets and we have all of our colors and everything like
that ready to go. Awesome. Now, what
we want to do is we want to go ahead
and first of all, get started by just
like, let's see, over here, we have a normal. It might actually be easier if we 1 second, let me
just double check. It might actually
be easier if we can convert this bitmap over
here to a norm map, but it depends how
well it behaves. Here you can see the difference. I think that behaves
pretty much identical. Maybe I want to sent
this to 35 over here. In the end, we don't
really need norm map, although I do want to double
check that the resolution. Oh, yeah, here you
do see that we do have a little loss of
resolution over here. See? Which is a bit of a shame. So that's an interesting one. Basically, the
reason I'm talking about this because
I want to apply these details to both a
height map and a norm map. However, because I
don't really want to sacrifice that tiny bit
of different quality, I'm going to do this
stuff separately. Now, first of all, over
here, we have our bitmap. Now, if we are lucky when we turn our Bitmap into a
grayscale conversion, it will automatically
basically become, as you can see over here, a different grayscale map. However, take this
with a grain of salt because you can see over
here that the gradients, they are not absolutely perfect. You can go ahead and thy a histogram select and
set the contrast up, and set the range
quite low over here. And, yeah, you see,
it's not really perfect to select now that I look at it. So it kind of depends, we need to see how well
that we can select it. What we want to do is we have
over here our stone master. We're going to
basically have a few different colors in
our stone master, and we're going to apply
those to our shapes. I will get started by doing it with my
height map over here. So basically what you
want to do is you want to blend your height map and you want to blend it with your
stone master height over here. However, we need to, of course, shuffle things around
because if we just do this, it will become one
large texture. As you can see over
here, it is also quite slow to generate. So I'm a little bit worried about using multiple
of these in here, but we will see once we have changed the
color, it should be fine. I'm going to probably
go ahead and use a multiply over here
and work with that. Yeah, here, you can see
that it's quite slow. I am a little bit
worried about it, but we can have a look. Now, in order to
shuffle this around, we want to use a simple
directional warp over here. And we basically need a
well, a gray scaly put. So what I'm thinking about over here is that we have this one. And maybe I need to, like, blur it a tiny bit. Like this. And I can
see if this one works, but I'm not completely sure. So if you put this into the intensity input and the
height into the normal input, what you can do is
you can go ahead and you can set your warp. Let's say that we
set it down and you want to set this quite
high to like 500. So what it will do now is it will go ahead and it
will shuffle around all of our shapes based
upon every single gradient. It looks like it is working. Now, I do see over
here, of course, we have these edges, so
that's something that we do need to fix. But in general, it looks fine. I don't think I can
fix the edges over here because it will just cause. I will just cause some
additional problems. But we can go ahead and see how this looks if we multiply it. I also note like over here, it is currently quite slow. Now, a way that we can
fix this is that we can use the exported
maps for my stonemaster instead of using
the SBSER and that would fix some of that
slowness because right now, if I would go in
and I would need to duplicate this like
five different times, I'm a bit worried
that it will try to like update every single time. Although I was pretty sure we
optimized it pretty nicely, but yeah, rendering output, see, I'm quite surprised by it. You can go ahead
and have a look at edit your preferences. And in here, you can make sure that your memory
budget and everything, it's pretty high, I don't
really have to work with that. This one can be set to four K, which means that it will only render at four K resolution. But I don't think that we
can do much about that. Now, if I go ahead
and have this one and convert this to non m just to
see what it looks like 35, you can see that now over here. We have quite a
big difference in how our shapes look,
so that's pretty good. So I'm going to see
how well it will work, and else I can show you a way to make everything
run a little bit faster. However, it will also mean no flexibility at
all once we do that. Now, we've done our height. We need to do the same
with our norm map. However, we cannot shuffle the actual normal map
from our stone master. The reason we cannot do
that is because it will actually break the way
that norm maps read. Instead what we need to do
is we just have a norm map. We basically add a normal
combine over here, sets to high quality, and then we basically
grab a normal note and we convert this
into a normal. Now, at this point, remember those thin lines that
I was talking about. At this point, they
basically become a problem. What we try to do is
we can try to blend this and then we can try to
al high quality grayscale. We are basically blurring the lines until they are to a point that we feel
comfortable like this. And then all we need
to do is create a mask and hopefully an
edge deck is fine. We set our edge roundness lower and then invert it and then
of course, also blur this. The general goal is to kind of blur those edges. I
think it is working. However, I want to add a Histogram scan to
this to kind of push, see, I'm pushing this out
And then I might want to, like, blur it a little
bit more over here. But there we go. So now all of our edges
are a little bit softer, so that should work
a little bit better, and then we are
having our no map, which I can throw up here. I don't know why
it's so soft, dirty? That is looking a bit messy. And the thing is with the normal combine,
it will not actually work. So I am afraid that we
do just need to take a tiny hit in the
quality and simply convert our height map over here to a normal map rather than doing anything else, because we are not able to properly overlay it in the
way that we wanted to. So we can just do this,
and then of course, over here, that's looking
already a bit better. And then we would, of course, have like our cement in between. For which we are going to create a few different materials. But let's have a look and see
how this even looks like. We have this one. I definitely want to break up my edges a
little bit before I move on. Let's do a non uniform
blur gray scale and a slope blur gray
scale over here. Let's grab our
trusted clouds too. Non uniform grayscale. Sorry, multi directional rascal, I mean, plug in the intensity. Set the mode minimum over here. Yeah, that definitely
already starts to break up. Some of these edges.
Now, we do have some problems still with noises, but let's start with this, so we're breaking up the edges, and then maybe we can
also do a slop ler, but I'm not super
confident about that one. So what I can do is I can
maybe add a transform to boost up by pressing X two, my clouds, which will give us these quite large but
not too intense damages. Now, next to this, we
need to add a make it tile photo grayscale to our clouds, else
it will not work. And then if we
simply blend between the multi directional
war grayscale and the slope grayscale, using the same system
that we used over here, so I can use this
system also over here, but then in a larger capacity, so I can set my edgewd
be quite a bit larger. And then I can tone down my his club scan
a bit. Let's do this. So now, see, only the edges, and then it just
softly tables off. So only the edges get used. And then we have
something like this. Now, as you can see over here, we still have some problems
in between these edges, and what I'm going to do
because that is a little bit twicky Let's have a look. Yeah, it's most likely because if I set my direction to one, it will probably
not look as good, but it will improve one. Yeah, it looks vastly
better if we go for four. That is a little bit
tricky actually. Let's start. I'm just going to twice and see if I can do some blurring
basically to fix it. Let's go ahead and
add a color to mask. And then grab our
original bitmap. And if you just click on it and then click once on the mask, we want to grab the red color. Let's do mask range and mask
softness also over here. Then we are going to
just blur it because we never want to make
this super sharp. Okay, so this is
why we made all of those masks so that we can work with this a
little bit better. So the problem right now is that our multidirection warp
is causing some problems. Now, if I go ahead
and basically do the same effect where I Grab ah, sorry, not a slope rascal. I'm going to grab a blend, and I have my multidirectional
warp and this time, once again, I'm going to Oh, no, wait, actually, this time, I just want to plug
in my normal blend. That should be enough. We don't need to
probably blur anything. Then just grab my mask, and this should avoid
us using the mask, so it will only kind use those over here,
use these edges. Now, if I go ahead, so that's looking fine. So I don't think we can get
it much better than this. However, we have actually or once we actually going to
create the concrete base, things read should read quite a bit better because
then we will get rid of those ugly edges. For now, let's go ahead and just drag this one
into our normal, this one into our height. For our ambient clusion, it's probably better if we go if we go atras
mbiclusion for this one. Rather than trying to, like, because, yeah, we do
have this one over here. Maybe we can combine
it, probably. So the trace will be like the tone down the samples of it. The rat is going to
be the fine details. If we just add a blend and combine this using
the original one, using a multiply over
here, there we go. Then what I want to do is I
do want to probably add let's do a histogram histogram range. No, actually, not a rage range. Then push the range all the way up but set
the position a bit higher to make the
Aon less strong. Let's just go at
the Sava scene and let's see how this works. We are going to probably
go for PNG, yes. We have our stonewall over here, making sure that my
stonewall is not too messy. Okay, so that folder is
getting a bit too intense. So what I will do is I will make a new folder called final. And in here, I will place
like my vial textures. We can go ahead and get
rid of Metallic later on. So for now just turn
on automatic Export. Although that one
might also slow down a graph even
more, so we'll have L. And now what we can do is we can go ahead and we can go into Momset and we can go ahead and open up our
texture preview scene. And while that's opening up, like I said, let's get rid
of the metallic over here. So we got a base. Um, not sure why it is missing some of
those files, but okay. Let's go ahead and just switch back to Camera one over here. Oh, yeah, I don't like that. I don't know why it
is missing those, but I will just
quickly reassign them. So we have our norm
map over here, and we have our ambit
occlusion map over here. Okay? That's now all good. And then what I'm going to do is I'm just
going to duplicate my stone and call
this stone wall. And then in this
one, you know it. We can just go ahead and apply our textures that
we just exported. So we have our ambit occlusion. We can get rid of our
roughness for now. We can get rid of a
base color for now. We have our norm
map, which looks Ah, yeah, actually,
that might be okay. But we definitely
need to rely on the height map in order
to make this, like, visually really
interesting.'s make the color a bit darker. Okay, so that is not too
bad what we got right now. I quite like it.
Yeah. Like, it's an interesting,
quite deep stone. I would say that I
might want to make the stone a little
bit more intense. And, of course, we need
to work on the concrete. But I think this is already,
like a really solid result. So that's a nice thing about
substance that you can or sabush that you
can quite quickly get some really interesting
looking shapes. There is something
going on with my uh, Abi occlusion over here. Hey, there is a seam. That is very strange that my baked embotclusion
is not tlable, but if I go to, like, my baked, my baked hight M is
perfectly tilable. Huh. That's a new one. I've never had that
before. And it's typical. Whenever you make it to Toya, that's when you get proms
that you never had before. Instead, what I'm going
to do because let's see. So I quite like this one, but I wanted to push, like
the darkness a bit. Let's instead, just get rid of that one and use an
HBAO which is like a quicker calculated
mild but more like softer version. Actually,
no, I don't like that. Let's instead just go into our boost up our
maximum distance, and I'm just going
to go ahead and throw this into my
his crumb scan, and let's boost up
our height scale. Then we just do it this way. We boost up our height scale so that we still get that depth, and then I'm going
in here and I'm just playing around with the position to make
it a little bit less. There we go. That
should fix that one. Okay, that already looks
a little bit better. So what I'm going
to do now is I'm just going to go ahead and
work on the concrete normal. And then the next chapter, we will actually
get started with, like, our base color
and stuff like that. So if we go ahead
and go in here, so yeah, we made
pretty solid process. For the concrete
normal, at that point, it's probably easier if I
just do that in the norm map. So we have norm
map, and let's do a normal combine sets
the high quality. And I'm going to make a very, very simple concrete normal
for which I will probably use something like
a B&W spots too, and I'm going to blend
it using, let's see. Fractial sum. I just
need something noisy. And then if we just go ahead and blend these two together. I don't know if multiply,
maybe just like a Min darken or maxlten. Okay, so maybe we should
multiply, something like this. And then if we go ahead and then add a multidirectional wp, we need to be a bit careful with this because it can
very quickly look like liquid if we push this too much. Here,
this is what it means. Wow, actually see, no, I thought for a moment
that there, yeah, here. See, I see JPEG artifacts. That's new. But anyway, normal. It's add them map to it. There we go. That's
quite a basic concrete. And if we then add like a blend. So, honestly, it
will be very soft, so I don't really need
to make too much of it. Add a normal color to the top, and we are basically
going to blend this one using that mask
that we created before, which is this mask over here. Oh, and invert the
mask, invert grayscale, and just pred D to docket,
and then just plant that. So with this one, first of all, we want to go ahead and set our nor map a little
bit less strong. So that creates some concrete. However, we now still do
have those lines over here. So let's have a look and see
how we can fix those lines. So if I just duplicate my
normal note over here, just make sure that's
where it is happening. So it's mostly like, yes, we have a line here,
which is not super nice. So it is like a bit of,
like, a harsh line, but that one is
fixable simply by adding a blur with a mask again. So here we have already like this blur. So we can
already do that. So let me just after our blend, we can just add another blend. And then we can blur this
mask like a tiny bit. Over here, just make it
like nice and soft etches, and then just mask that using, I believe, I mean, yes, this one, but I feel like we can make it a little
bit less intense. Let's have a look. So over here, that should
fix that one, see? Now our edges are a
little bit smoother, and then we are running into
the problem where over here, I was masking this,
but then also, as you can see, so this system over here
isn't really working. I'm going to go ahead and
get rid of this blend, and I have a feeling like it's starting to not
be very organized, and I want to make this
clear for you guys. So, okay, so we now are using
the multidirectional warp. And it's multidirectional
warp like it is, it's a twicky one. Let's have a. So this one over here, Hey, why is it gone now? Because still see the tiny bit, but it's less now. It might actually
be less enough. Oh, yeah, I do see, a
little bit here and there. What I will do is we have. So we have these two
notes over here. And what might be better because we are blending this
around our edges. What if I just plug this one? Okay, so that creates too
much just around the edges. Instead, because we are
adding a norm map on top, that means that we
should be able to sort of blur our base. So having this one,
instead, let's add a blend. And let's add another blur. So I'm kind of like destroying. This is why I don't
really like doing it. I'm very slightly destroying
some of the shapes. But in return, and I
can use which one? This one over here. Here, I'm
destroying the shape a bit. But then I was hoping that when I get over here that it gets dded but now I feel like
I'm destroying it too much. I guess I can destroy it
only around the edges. I guess that's the
next best solution. So if I go in here, because
these edges are like blurred, If I do that, so I soften it. However, if I then
grab this one, arts and blend
because I, of course, don't want to destroy
them on my stone. So I grab the mask of our edge. I then grab also the
mask of our concrete, and I set this to be multiply. Now, doing that it looks like
that it is softening it, but now we need to add
another blur behind it. Wow, this one really is
causing me a lot of issues. So slide blur behind it. And, of course, it
doesn't have to be perfect because with our
height and everything, you will not be
able to see much. So I think that this is
actually good enough. I think at this point,
once we add all of our concrete noise
and everything to that over here, that's
also looking fine. I think that that
looks pretty solid. Now, here we have our normal. So we are adding
this blend yeah, I don't think I can go much stronger than this. Let's
have a look, actually. So I do feel like I want to increase those norm map
details a little bit more, just a tiny bit, and then I
will call this chapter done, and then we will move
over to the colors. So let's have a look. So
here we have our height, and I do not know if I
have a height intensity. I do not. I only have a normal intensity, which I can remember. Instead, I can do an outer levels and
see if that pushed it. Okay, so that pushes
it quite heavily. If I use that, but if
I then blend this, here, let's go to our normal. So that is quite intense. If I now go in and
then I multiply, tone it back down again, that does give me a lot more control. So you need to be careful
because normal maps, if they are really,
really strong, they can actually
cause lighting errors. So if I go ahead and now
go in here, there we go. That's more what I
was looking for. And I'm just resetting also
my base color just to make sure that it updates. Okay, I'm quite happy with that. I'm going to go ahead
and save my scene. I do feel like I do want to break up the edges a little
bit more here and there, but let's first of
all, add the colors, and then we can have a
look because over here, you can also see like the edges. They are a little bit sharper, and right now our
edges are quite soft, actually, which I'm a bit worried about, but
we can have a look. So let's go ahead and continue
with this in next chapter.
27. 27 Creating Our Stone Wall Material Part8: Okay, so let's go
ahead and get started by focusing on our base color. So first of all, let's do at least a little bit
of cleanup, shall we? So we have these
pieces over here, this one, so let's call this. I'm just going to
call it height map. Over here. Normal map. And then these
ones are just like the classics of like outputs. Okay. So now we need to have. So of course, we
have our base color and we also have a roughness. And yes, I guess, also the ambit no wait, no, we don't need an
ambient collusion because that one will
be picked up in here. So base color and roughness. I want to always minimize
the amount of maps that we need to do because
for every single map, we do need to do this
directional warp over here. So this one, if I
just duplicate it, we would also need to do
this with an input because we just need to shuffle
things around like that. However, it looks like for
base color and roughness, we probably don't need to
worry as much about the edges. Yeah, I don't think so. I don't think we really need
to worry about it too much. And if we do, then of course, we'll figure it out back then. So if we just go ahead and then duplicate this and also
have this for roughness. So this is our base color on
the roughness for each map. Now, it will be quite slow in the beginning because
we are editing this. So one, two, three, four. Let's see how many?
One, two, three, four. So we have four, one, two, three, four, so we
can remove one. And then over here, we can
go ahead and once again, base color roughness. Base coolorughness,
base color roughness. Let's move these out of each other or out of the
way a little bit more. And there we go. Okay, so this one is like
the neutral stone. I can go ahead and go into
preset neutral stone. This one over here, it will take a second
because, of course, when you are changing
the presets, it wants to reload
the entire thing. This one can be
blue stone because although we might need to
add some changes over here, most of these stones are very similar to our walkway stones, which also would make more
sense when we have them in our environment if they feel similar. This one
is brown stone. Give it a second to
load. Then over here, this one is going to be our
Come on. Light brownstone. There we go. Okay,
so we are going to map these onto our rocks. Then what we're going to
do is we are going to probably break up our original
rock shape a little bit more and then also add some more localized leeches and dirt to go along
with everything. So having these now, in order to basically blend these two together or
blend all of these together, we will need some masks. So we have this one.
We have this one. We have this one, and let's also not forget
that actually, we also need our here,
let's also blend. We need our concrete. So what I can do is I can
move this one over here. So this one is actually one of them will
actually be concrete. So we can just go
ahead and delete that. And for now, just
use a uniform color, and we will set this color to be a little bit
like a gray color. And then we will just know like, Okay, that's going
to be concrete. So the difference between these two is going to be
simply this mask. That's an easy one.
So we have this mask, concrete, and the
rest is our stones. And now we are
basically layering masks on top of each other. So having that that's two
color to mask over here. And if I just go ahead, so I kind of cut, oh, I don't have it open.
We have four inputs. We just need to figure out which masks that we want to use. So I probably want to start combining two masks
per input over here. So you basically grab two masks, and you blend them
together using an art. And then for the first mask,
if you just go ahead and click on here, the first mask, so I want to keep blue are base because I feel like that's
the most neutral one. So let's go for yellow. And then also let's go
ahead and just playout with my mask and actually
drag it in here. Play road with a mask ring. Yeah, that looks fine. And
then we have the next one. So yellow, and let's do this
blue. Combined together. Then we will go ahead and again, this one is going to
be a zoo purple and zoo lime green combined
together. And then the last one. And of course,
anything that we might miss will be covered
by our base color, so we don't really need to
worry about that too much. The last one is going
to be our orange. And let's see. We have Dana
purple our dark green. Let's do that one. Oh, sorry, I do need to set
the mask range for these up because else they
don't really do much. I go to set the mask range
just outside so that it doesn't show up. Let's see, we have this one so that these dotted
lines don't show up. There we go, because that's just like it's twying
to mask something, but it's not sure how well to mask it,
something like this. Okay. Now what will happen
is we have a rock. We are adding more rocks. Then we are adding more rocks, and then we are
adding even more. There we go all on
top of each other. The blue ones might be a little bit too intense,
but we will see. Once we have done that,
I'm going to add a blend, and I want to have
a curvature smooth to throw on top of it. I'm just going to do without my concrete noise because the concrete noise might
be a bit too intense. And let's go ahead and turn
this into gradient map and plug this in here
using a multiply. Was it multiply? I
keep forgetting, no way overlay. There we go. Overlay. Just to give it
already some definition. Now, of course, we also have
our concrete for which, and we also need to
duplicate this for roughness, for our concrete. I am going to probably just cheat a little bit
for the concrete because I'm not really in
the mood to create an entire concrete material
or something like that. So instead, let's create a
fall we called concrete. In our Stonewall folder. I'm doing that on my on screen. And let's just quickly go
into, like, texts.com. And because you guys can
also get these for free, let's just go into,
like, our Tweet scans, and let's just find, like, a very easy concrete,
something rough. Mmm. Something like
this, easier, does it? So I'm just going
to go ahead and I'm going to use my premium credits, but, of course, you guys can. And I just need this for
the roughness and for the base collar because we already kind of
created the non map. But you can, of course, just use the free credits
that you have over here for 1024 and then just tie it four times to make
it fit better. So having these, what I can do is I can just go
ahead and drag these in. I'm just going to import them. Come on. Over here. What I want to do with my
base color is I want to do a color replace range, source color, just
something that is similar and target color. And then what we can
do is we can just go ahead and look at
the end result. Come on, load. And then based on that,
I can say, like, Okay, I want this to be a bit
more of a whitish color. But also still like a bit
brown, something like that. Okay. And then we also have
a roughness map for which we can go ahead and just
move on with that later on. But first of all,
let's go ahead and just see we have this as a base. Let's go ahead and
start with this. These ones over here
are base colors. So I will call this
base color combo. And then the next thing
that I want to do is so we can actually, we can for these ones
because these are the masks, create a folder and
call this stone masks. And then we have
this one over here. You can go in here,
call this one. Roughness combo. And all we need to do for
this is we just need to plug in actually no, I'm missing one. Um, this one. So over here, I need to plug this one into the top,
this one into the bottom. And now you can see
that because we are, of course, switching this to I gray scale, we want
to go ahead and do this. But now this should handle
all of our roughness, if it wants to load, at least. There we go. So now we
have our roughness, and we can also go ahead
and we can start plugging that one in if it allows me to. One sec, it just needs
to render the cache. I think it has a bug where
it's Okay, there we go. It solved itself. Sometimes
rendering the case, like, it just gets so overwhelmed that it just kind
of like breaks. So now we have something
like this as like a base. So it might not
look very good yet, but we will just
have a look and see. Or it might surprise us. So let's go into
our marmoset scene. Stonewall, final. Let's set our albino
map back to white. Here we go. And
grab our By color. And also, let's
grab our roughness. Okay, so this what
you have right now? First of all, I would say
like our amid occlusion, it's a little bit
too overwhelming and also that curvature map
is a bit too overwhelming. And the thing that I feel right now is that it
feels a little bit too much more like
pebbles and less like this sharp rock type look. And that's another thing that
we kind of need to work on. So in a way, it
was also my fault. I should have just sculpted
them a little bit harsher. I was not thinking
too well there. Normally, I would just go
in and re sculpt them and stuff like that if but I'm going to go
ahead and this time, I'm just going to show you
how to fix it a little bit more inside of designer. So I'm just going to lower this one over here, the overlay. And this will be called stone and it's called
master over here. So, okay, let's have a look
because luckily we are able, since it is a height map, we are able to just
manipulate these shapes, however we want to see and
get a stronger effect. So first of all, we have
this effect over here where, um we are increasing our
multi directional warp. Now, the nice thing is
that I can actually I do want to probably generate
a flat fill from this one, and then I can actually use some more additional notes to start cutting
away at the shape. For this, what I will do is
I will create a flat fill. And a flat field needs
like a gray scale mask. So you need a mask with
individual points. The way I pretty much do
that is I can arch just like a simple edge detect
and I probably want to have the edge detect before I start blurring things. There we go. Now we can
see that over here, if I just lower this and make
this as thin as possible, it does properly detect
all of our edges. So we throw this
into a flood fill. You know what? I should have used a
portal here for these two. I might do that just as
like a cleanup later on. So I might go in here
and then do like portal. Let's call this one
Random grayscale. And now let's go
ahead and go in here. Dot note. Random
grayscale. There we go. It's something I need
to get used to that I can use these
portals because it's literally only a few days
since they released it. But as you can see,
come on. You can do it. It's so slow when it comes loading these type
of areas over here. But as you can see here,
that's Oh, missed a few. But that's quite a bit
cleaner. Like that. Nice. Anyway, I will just
do this one off screen. We were creating a flood fill. I tend to jump around a
bit. Sorry about that. Then I want a flood fill to let's do flood filter
gradient first and just set the angle
variation all the way up. This will give all of our
stones a random angle. Now at this point, we do need
to get rid of this edge. However, we can do that
using a distance node. And with that distance node,
if we in the source input, input our gradient and in the
mask input our edge detect, you can see that
what it does if I push this all the way up to 256, it just pushes away that one
edge, which is really nice. At that point, if I just blur
it a little bit, over here. And I go, for example, all the way, actually, no, probably not all the way. Probably this point over
here is probably better. Yeah, let's do this one. And then blend, I can plug in my blur high
quality grayscale and set this to our mint darken, which will kind of cut away, as you can see on our shapes. If we go ahead and just set this I'm going to
start with something quite intense and then I
will see what it looks like. Over here, we are cutting
it away quite intensely. Let's have a look what that
looks like in marmoset. We need to load it and
then we need to go ahead and just honor
off our displacement. That does create some sharpness. However, I even want
to make it stronger. There we go. Let's
make it quite strong. And now we can also go ahead and we can also break up our edges with some more sharper areas like if we just go ahead and do, another multidirectional
walk grayscale. And for example, for
this one, we can use, like a crystal crystals,
where are you? I'm blind. Very blind. There you are, crystals. So we can use some crystals, which if we set the
mode to minimum, it can create some cutting. It's why maybe like two angles. Okay, there isn't
really much different. I'm going to make
my crystals like, quite a bit larger over here. And then cut these also. To be a bit careful because
I don't want to overdo this stuff and also have
a look at my normal, and now you can see that that is quite a difference between zero intensity over here and just adding some
of these crystals. I do want to say let's
set the intensity to six. But I want to blur. It is just like a little bit, and I need to look
at my norm map in order to see what I'm doing. I'm just going to go
ahead and so crystals and then give it a slight blur. We are damaging
that kind of stuff. That's looking fine.
At this point, we are getting pretty close
to the end of this chapter. In the next chapter,
what I'm going to do is I probably want to
go ahead and start cutting away a little
bit more around our actual corners to make
them a little bit sharper. But we should be able to
just like work with this. So let's have L. Yeah, so here. So I'm already starting to see
some sharper cuts, and as you can see over here. Of course, take it
with a grain of salt because it's more like
the displacement. There's only so much we can do also with the displacement, and we most definitely need
to also work on making the actual walls over here
a little bit more realistic because right now this
just looks like a cartoon. Like it just does
not feel realistic. So that's another thing
that we need to work on. For now, let's save a scene, and let's continue on
to next chapter.
28. 28 Creating Our Stone Wall Material Part9: Okay, so let's go ahead and continue with our
wall over here. So I went ahead and
I just took already, like a picture so that we
can have a more his thing. So sometimes something
what I like to do is, I like to just
grab, for example, my notepad over here. And when I see I have a lot to do and I want
to kind of, like, put my thoughts on one line, I like to just white it down. So if I have a look
at this material, and I will also have
look over here, there's like a bunch of
stuff that I want to do. First of all, make
rock shapes sharper. And then especially near etches, balance base colors, art, whitening based on let's
do normal details. What I mean with this
is that over here you can very often see this whitening effect that is happening exactly where there are normal details happening. And Art localized leeches. Just adding some
leeches that are more, like, local in certain areas. Um, let's see. What else? Art overall grunges
and shape based dirt. I want to also I feel like right now it
just feels too soft. So, Increase normal map
power. So I want to do that. Now, over here, what you can see is also that displacement, it's not the best when it
comes to these kind of pieces, but there isn't much
we can do for it. We will not push
it this intensely when we go inside of unreal, so we might want to
balance that out. Our concrete. Well, I would also say like improve
concrete, normal. And I'm going to mostly
just be looking over here, and I will say, like, art, additional
color variation. An art base color sharpness. Let's start with all of this, and then we can continue
on. Okay, awesome. So we now kind of
know what to do. So what I will do is I will go ahead and actually, I
can close this one. Let's go into designer, and let's start
with the first one which is making our rock
shapes a little bit sharper. Now what I can do with
that is I can go ahead and grab this one and I can
start balancing it. I do feel like at this point, I probably want to
do an outer levels, just to push the levels back for what I'm going
to do next because we are basically going to use the
same techniques that we used in our original
one over here. Now, for this, I'm
going to go ahead and let's create a
oh, already selected. Let's create a sales
one over here. And let's do
something like this. And what we want to do with
sales one is we want to steal our directional warp. Throw that into the
input. There we go. Now we have our sales
ones over here. Then I want to go
ahead and invert the grayscale like this. I want to go ahead
and add maybe like a blur high quality gray scale. Give it some really small
blurring over here. Now the next thing
is pretty much that we need to decide
if we want to have also these sharp edges in the center or just
around the well edges. I'm going to blend this
with my outer levels, so the last note and
just do the same thing, mint darkening and then just
kind let's start with 30, and then we just see. If we now go ahead and just
switch back over here, Okay, something went wrong. Let me just have a look to make sure
that it's all exported. Switch back again. There
we go. That's better. So it's accidentally
updated one. And then what we also want
to do is you want to go ahead and just turn
on the displacement. So now you can see
that definitely our rocks are quite
a bit sharper. I'm going to mostly look
at the edges in this case, and then I will balance
out the centers. So if I have this, I would say, around 0.2 feels a
little bit more logical. I'm just waiting for it to
update because by this point, updating goes a
little bit slower. So have a look. Okay, so
that is, that's pretty good. I like that. So
now we have that. Okay, now what we want
to do is we want to grab the centers and
then make those softer. So if I would do a blend
and a uniform color, that's just completely black. And then for the mask,
I basically want to steal this mask over here, but I want to make quite
some strong adds to it. So I'm going to make
my edge tact like really large, like this. I'm going to also make my
blur quite large over here. And just plug this
into our opacity and then also looks like an
invert gray scale over here. Now, you can see that now in the centals we no longer
have these sharp edges, but I do want to keep
them a little bit. So what I will do
is I will go ahead and set the opacity a bit lower, maybe around let's do 0.85. Also, what I can
do is I can go in my blur high qualtyGray
scale and add another multidirectional
warp grayscale and just grab the same clouds that we
normally use or maybe this one. You know what? Actually, I might
look better if we Oh, no, wait, it would not
be better if we do that. Before, yeah, no, no. Sorry, let's do it after. That's just me, like,
thinking out loud. So let's have a
look actually at, like, our normal map. So if I go ahead and, like, turn it off and turn it back on. Um that does not look very good. And it also does not seem like will make a large difference. What I can do is I can
swap these around. So here my invert gray scale. I can swap it around like this so that I can
at least invert it. And then I can add a multi
direction warp gray scale. And let's actually
pick a bigger clouds. Maybe that will
work mode minimum. And then because then we do the directional warp
and then we blur it, it hopefully gives us a
slightly better effect. So if I go ahead and just
set this like 20 Yeah, definitely gives a
stronger effect. I'm going to keep this at around ten for now. I'm also
quite surprised. Like the normal map, it
feels really, really strong, but yet it does not actually
come across like that, and it might just be
because we lose a bunch of the nor map details in
our actual base color. But I do want to push that. So if we go ahead
and first of all, let's see if we succeeded in making everything
a little bit sharper. Yes. Okay, so that is a
little bit sharper now. I do feel like Ah, let's see. No, I should not
look at the top. I was thinking, like, maybe
we are pushing some of the stones out a little bit too much, but it doesn't
look like that. So yeah, we definitely now
got this sharpness going on, especially on,
like, the edges and stuff like that. So that's fine. So I think, like, most of it by this point is
going to be Clog. I'm going to go
ahead and let's see. So if I add this, I
do with the blending, maybe I want to do
another outer levels. Just because it gets
pushed back quite a bit. So I'm just waiting for
it to export 1 second, and here we go. So if I now do displacement, that should push
it out a bit more, which means I now need
to push it back in. Yeah, something like
that should be fine. Okay, cool. Now, we
have these pieces, so let's have a look at my list. So make the rocks sharper done. I also want to increase
the normal map power. That was another one
that I wanted to do. But it looks like that
I am already, like, kind of pushing that
as far as I can. Oh, no, wait, I could use this multiply to actually
increase it more. So let's just push
that out a bit more. Give it 1 second. It's
still not done exporting. By the way, I'm
just looking over here, and I just keep looking. So sometimes you just have
to wait like a few seconds, but you guys are probably
busy doing a bunch of other stuff anyway while
following this style. Okay, so now it's
pushed out a bit more, so that's better.
I do like that. I'm still not really
a fan of, like, the outside over here
where but over here, it's fine when I
look at the center. So that makes me
believe that it's just like because we are
rendering this on a sphere. Let's go ahead and
just like improve. No my power. That one's done. So balance out the base colors. Okay, so if I go
ahead and go in here. And if I just grab
quickly my image, even though it's already
a bit out of date, and just place it over here. That can give me a
pretty good sense of how I need to
balance out my colors. So now if I go in
here, let's see. So yeah, these colors right now, they are a little
bit too cartoony. The base color, really
like the base one. That one is honestly
pretty good. It's this one over here,
feels pretty solid. Maybe make it a tiny bit darker, but for the rest, it
feels pretty solid. So if we go to our color, and
maybe what we want to do is we want to increase some of those additional
details that we have. So let's make it a bit darker. And now a bit of an annoying
thing is that at this point, it will, of course, take quite a while to,
like, render something. You might want to
just duplicate it. And when we duplicate it, hopefully we can use
this one to, like, very quickly add some changes. So I can say, like, my
orange spots amount Oh, it doesn't seem to
really do much. Okay, if it doesn't
seem to do much, then I can just as well
do it on the original. I might be passing quite a lot every time we need to wait
for something to update. Those passes might mean that the audio can cut
off a little bit, so that's something that
just keep that in mind. But let's just have a look. So our orange spots, I'm going to make those a
little bit more dramatic. Oh, unfortunately, I
cannot pass quick enough. And the reason I cannot
do that is because my mouse lags when I
set to update this. What I'm going to do is
I'm just going to go ahead and I'm going
to for every color, like, I will do one
color and just do the balancing and
I will just let you know which
balancing I've done. Because this is too slow
because in the end, it would take quite a while
for you guys to wait. So let me just pass
the video and do that. Okay. So for this one,
the only thing I did is, I made the blue spots a
little bit more blue, and I set the orange spots
amount to around 0.38. And for the rest, I
did nothing else here. Yeah, and then our leeches
amount, that's fine, but we can go ahead
and maybe it's good for now to turn them off because we will add them later on. So yes, let's just go ahead
and turn off the leeches for now and add them back later
on on a global level. So that's pretty much
it for that one. Yeah, I do know that we have
some darkening over here. Maybe set the darkening amount zero, one, a little bit lower. That should be the one
that is causing that. Yes. Yeah, I'm just going to lower that a little
bit more over here. Also, another thing
that we might want to decide that I did not really think about
is the tiling amount. So right now, it's a
bit tricky to see. If I just go ahead and add a transform and set the
tiling to two over here, if I then go ahead
and just have a look at my base color once
we have applied that. So if I go to the base, here, that feel like it does
feel a little bit better having just a tiling
set to two like that. However, doing that for
every single one over here, that might be a
little bit annoying. So instead, what I
will do is I'm going to save my stonewall, and I'm going to just quickly
open up my stone master, and I will give this
option for tiling in here and then just expose it. So if we just go
ahead in the end, add a safe transform color. Let's go ahead and
go in here and let's expose the tiling. And let's just call it
tiling. We can do this. Let's just do it in, actually, let's just leave it
outside of any group. We can go ahead
and duplicate this and that one is
being added here, but I only want to output
the tiling at the very end. And then I also need to do
a safe transform gray scale over here for these ones. But I should be able to just
expose the same one tiling, even though it's gray scale because in the end,
it's just a value. And I can go ahead and I can
do this for all of them. There we go. We can
now save our scene. We can right click and
press publish SPSER we should be able
to just publish it in the same location. Yes, I want to replace it. And SPSCRs should update. So if I now go to my other scene once it is done exporting, this should just
update normally. So if I go ahead and it done, it's a bit tricky to see.
It looks like it's done. So let's just go ahead and
go back to our Stonewall. We now should have a tiling. Let's see. Color tiling, see?
So now it is here. I'm just going to
go ahead and pass the video, and on all of them, I will set the tiling to two because it's way too slow
for me to do that in here. Okay. So that is now done. So if we go ahead
and have a look, A, you can see how slow it is. I don't understand
why it's so slow. I've never had this before, so I do feel like
somewhere there was something a little bit
wrong, but we'll see. Okay, so that's
looking pretty good. Now, the blue ones, so we definitely have
these blue rocks, but as you can
see, these do feel more natural white these look
a little bit more cartoony. Over here, I sort of like
the essence of the blue. So if it would be like this
but less, it might work. So I'm just going to go
ahead and I will show you later on which values I will change in the blue Okay, so I did some initial balancing. For the blue color, I
made the blue a little bit more saturated so that
it's a little bit lighter. And I made the blue spots a bit darker and just
increased the amount. For this color, I
just slightly changed the main stone color by simply going up here and just grabbing
one of these colors. And the same is for this one, I just went ahead and I
just grabbed like come on, I just grabbed
somewhere over here. Definitely like
there's something going on with the caching where when we select
it for some reason, it feels the need to re cash it, even though that's
not really needed. Now, what I feel like is that although this
one can go over here, I have a feeling that a lot
of the details in here, we can benefit from
adding on top, which is going to be all of these white spots
and also some of the darkening and
also the leeches and stuff like that and
just more localized dirt. I'm going to get started with
some more localized dirt, and I want to make it like
a brown greenish type dirt. So what I can do is I can start with a very easy grading map. And I can go ahead and I can
or I can add a grunge map, maybe grunge map 001, tone down the
balance to give us, a lot of variation and set the C to one because I
don't like set number two. And I'm just going to
grab like over here, like around here, some colors. I just need something that
looks visually interesting. So let's see this maybe or maybe with like
some brown with it. Nah, Actually, I like the
first one that I had, but now I cannot get it back. I'm getting quite close
to something I want. It's like this, but
then a little bit more, something like
this should work. I basically just went out
and I just moved over here a little bit until I got something a little
bit more noisy. Okay, so we have
that one as a dirt. If we go ahead and I want to also blend in some
more brown dirt. So if we blend this using a uniform color,
actually, no yet. Let's blend this using
a graded map also and then just pick more of a
brown dirt area, like that. Yeah. And we can blend
this using Would it be as easy as just grabbing his scrub scan and
grabbing Crunch pep 01? It could be that easy. Although maybe the
contrast I don't really. Nah, it corresponds too
much with our colors. So instead, let's just see, can I just use something? Let's try like a clouds to with a Hcrum scan because I'm not really
in the mood to, like, pay for another big crunch map because they are really
slowing down our graph. Yeah, something like that
should work quite a bit better. There we go. Okay, cool. What I'm
going to do is I'm just going to go ahead and
add a blend node. And let's art this dart, and let's simply art a dart. Over here modifier.
It's a classic. We can go ahead and we can grab our unbalanced or should
we do our balance? Yeah, okay, let's do our
balanced ambient occlusion. Just throw that in there. For the curvature, we can
just grab a curvature map. And remember, because we end
up not using the baked one, and I want to grab probably
the one before we do any type of concrete because
else it's too overwhelming. And I'm going to make
this like like 1.5. Over here. For our position map, I don't really need
to do something. You can sometimes use a flat
fill as a position map, but I think in this case, we don't really need those two. So this is what
we got right now. If we go ahead and tone
down the dirt level quite a bit and also tone down the dirt contrast
and the crunch amount, I quite like having over
here, some additional dirt, although we will also do
some masking where we will have some of
those white lines. And actually, we could actually use this one for the masking. Yeah, we could do that. Playing around my grand
scale, stuff like that. So what I can do
is I can, maybe. I was thinking like,
maybe I can twight to use this one for
the masking and then just take out the
blending in between, but now I feel like that
might not work as well. But anyway, now you can
see that over here, that adds a very big difference already to just adding
some additional dirt. If I also add another blend, and this one was going to be
like the more whitish stuff. And I feel like
this whitish stuff, I can probably steal because
I need to use them anyway. I can probably steal the leeches system that we have over here. So over here, yeah, let's just simply
select this one. Oh, I guess I vaguely can remember that we had a more interesting
color for our leeches, but I guess we did not do that. It doesn't matter. So we can
go ahead and go in here, and let's just press Contrave. So I just did Controv
now Contrave. And let's just go over here
and start with this one. So probably a simple shadows
should work well enough. And then we probably
want to just go ahead and grab
this one over here. And I need to see
if I can capture, like, the small details
for my shadows. They are too hung up on
like the larger details. I don't know if this one, no, because there would be also
large details in here. And I don't think we
have, like an edge that is maybe we could use
the Finag detect. The finance detect, we used it on the Wood, if
you can remember. I should have given
it to you guys. If we go to Wood, here,
fine edge detect. We could use that one. That one should be maybe able
to read those small lines. Let's try this because
it's just so subtle, it's a little bit tricky. Edge tran, let's 20. That is able to
read those lines. If we use those, and then if we blend this and then I'm sure over here
we have this mask. If we blend out although
I have a feeling like we probably need to just
copy paste this because I don't think I think
this mask is too large. Let's do this. So we are subtracting
this blur map, and I'm just going to
lower down the width. Next, let's make the
blur a little bit. Less like this and
let's lower it down. Something like that might work. I don't think it's already, yeah, it's not
strong enough yet, but if we now add a
histogram scan to push out some of those shapes. Yeah, we are starting
to get there. So I just kind of like
trying to push them out. Yeah, so that's already
starting to look, especially on like
the bluestones. It's starting to look
really interesting. Okay, so we got these
now our leeches system. I'm sure that there is
some logic to the leeches, although over here,
I would assume that the leeches always come from
the bottom for some reason. But here I can see
that they more come from the top here,
top, top, top. Here, see it all feels like
they are coming from the top. So we might want to rather
do something in that area. Now, for the top, we could use we could
try the same system RGB. So sometimes it's so
much stuff to remember. So I do hope that you guys can give me break sometimes if I forget certain techniques. So we got this one over
here. And let's have a look. So red channel, green channel, blue channel, well
blue is never useful. Like, it does show some colors
from the top on this one. I'm not sure if I do this, or I can do or I
can try a shadows. And funny enough,
whatever I do this, just out of
curiosity, of course. Us to see if it allows me to control a little bit more like where I want
my shadows to be. It does allow it. It looks cool, by the
way. It looks cool. I might want to
keep this technique in mind because I don't
often do it this way. But like I need a larger area. So maybe just like a HScrum scan and see if I can get here, see? It's not so much on the top. But it is close enough
because I don't think if I go for the
green, wait, the green. I guess it's really difficult to see visually, with my eyes, it's quite difficult to see,
but then when I do this, it is able to get what I want. So here we have some leeches
sitting mostly on top. Now, this would be too much. There would be too many
leeches if I do this. I am going to blend this. Let's blend this. Do I need something harsh
or soft to blend it? I assume because we will be
using another mask over here, if I do blend and
also grab this color. Oh, yeah, over here. We will be using this area over here. For our mask, so just
for fun, if I do this. No, wait, we want to
do this. There we go. So that is masking
everything out. So if I go ahead and just, like, plant something
quite in between, let's do I kind of want
to use my grunge map. So let's do Gram scan and use
grunge map 001 over here. And let's see if I just push this out to still make it quite harsh and set this one
to, like, subtract. Yeah, I should be able to just get some zones with more
and some with less leeches. And over here, I
am pushing them. And if I use this as a mask,
so I might want to, like, move all of this stuff
down, Over here. There we go. Let's see. That is not giving me
a very nice effect. I think I will need to
increase my amounts. So let's see in here, I want to start by
just increasing the amount and probably also blurring it a little bit because then when I blur it, at least the leeches don't
get cut off like that. And then we add more of them. Okay, if I now go ahead and I grab this hist *** scan
and add a transform mode, and then do minus two and then have big and small leeches. If I blend these two together, No, sorry, I need to blend them. I need to blend them, here. I need to blend them here. Blend these two
together because, of course, s the
masking wouldn't work. Transform minus two and
set this to Maxton. Now we have big and
small. Let's see. Is that too noisy or I have the urge to actually make my position quite a bit
stronger over here. And I do want to
add some blurring, but not too intense. So I'm making it quite strong. So now we would have a lot, yes. But if I now go in and then
blend, it's one last time. Using a histogram select, I could go in and I could grab
all the way I think here, it's the random gray scale. So if I just go in here and do a portal, Random grayscale. If I just plug in my
random grayscale here, set the contrast all the
way up and the range. And basically, what I can do
with this is I can decide roughly which stones I want to have included
with the leeches. So you can see that if I
pick something like this, and I would go ahead
and set this to, like, multiply, for example, although yeah, I need to
get rid of those pieces. But let's just see
how it looks first. Now you can see that now
we have the leeches, but they're not on
all the stones. So that would look a
little bit more cleaner. Now, over here, this is
a little bit annoying. Unfortunately, I cannot
really only way to really get rid of it
is to add a blur. Blur a tiny bit and then
add a histogram scan. But yeah, it's just annoying
because it means it adds an additional few notes like this and then just dock it so that you
don't have to see it. There we go. Okay, so we have our leeches.
We have our dort. I do feel like my cavity right now is a little
bit too over the top, let's set it to oh, yeah, wow. It became wily a lot stronger since we worked on it last time, let's set it to like 0.05. Let's see. So This
was the original. We can go ahead and just take another picture and
then have another look. I still feel like
we need another chapter just to
balance things out. So, let's for now, make sure that everything
has been exported. Let's go into Mom's head. Hello, Momset. Thank you. The displacement again. Okay, so now here, it's already looking
a lot better. I do think like a bunch
of stuff is too intense. I think the darkness is
making it too intense. For some reason, this
reminds me more of, like, silent hill type textures, where it's, like, a little
bit too overpowering. So that is something that I
am going to fix right away. And it's mostly just
like over here, like all these really
white highlights. And also, how is our
roughness doing, actually? Our roughness can be
a little bit lower. Let's go in our
roughness over here. And let's do it like
a histogram range. Excuse me, Histogram range. It's not showing me anything. Come on. There we go. That was weird. Set a
range all the way up. But then said also like
the position up a bit. Something like that. So just to make it a little bit whiter. And another thing was that if we could just
go ahead and switch back maybe now my normal map
is funny enough too strong, because I think in the
beginning I was more balancing my norm map
based on everything else. If I go ahead and just lower
down my norm map in here, would that be fine, or do I want to keep the shape stronger,
but the rest not? So I'm now lowering
it down by ten. And I'm just waiting for
all the textures to update. Okay. Let's have another look. Yeah, that feels a little bit better when it's now
a little bit softer. Okay, so we are
slowly getting there. If we now go ahead and for
the end of this chapter, save our scene and take one
more image and compare. And then we get the next
chapter, just keep balancing. Okay, so it is done. So before, after. Before, after. We definitely created
a large change. And I also feel
like by this one, I feel the urge that we don't
need as much displacement. So definitely like
it is getting there. Like, there's still a bunch
of stuff that we need to do. I'm still not happy
with the colors, and we still have a bunch of stuff that we
need to do for our list. But if we just go ahead
and go side by side, you can see that definitely
we are slowly getting there. Yeah, so we're slowly
getting there. So we just now need
to really just keep pushing the realism
side of things, just to make them feel a
little bit more natural, but, like, the
elements are there. It feels not so much
like stone right now, as you can see over
here, and that's mostly probably our roughness, but it feels more like just like a really soft type of clay, while over here, it's like,
really sharp gritty stone. So let's go ahead and focus
on that in the next chapter.
29. 29 Creating Our Stone Wall Material Part10: Okay, so let's go ahead and continue on with our stones.
So we are getting there. Now, the biggest problems
right now is that everything just feels
really nice and smooth, which I do not like,
like a vaga see, like it feels really
rough and grainy. I'm quite surprised by that, but I think it's just a balance
between micro noise and also some additional sharpening that needs to be done
in our base color, which I've already
discussed in the beginning. And I know, maybe we can do some additional grunges just like improve everything a bit. So and also in our roughness, we definitely need some
sharpness in our roughness. So let's go ahead and
continue with that. First of all, go over here. And here, quite an easy one, and I need to decide
when to do this. I think, before we do
our dirt over here, we can simply cheat
a little bit and add a sharpening note and make the sharpening note like a
little bit like 0.35 maybe. There we go. And that will just make everything feel a
little bit more crisp. And then, of course, when all of our other stuff
gets added on top, it will minimize a bit more. I might also want to add a quick sharpening just to
my dirt over here. Here, you see, because it just makes everything feel a bit sharper.
So that's 0.5. Now, the next one is
just that we probably can use some micronise we have some of this
noise over here, but it seems like
this is not yet working exactly the
way that we want to. So let's have a look.
We have this one. Yeah, here, I'm honestly quite surprised that it
is not like this. So micronis can I
use Is this one? This is like the concrete. For micronis. Let's go actually
to text.com. Here we go. And let's have a look
because often for micronis I can just grab whatever I want and
take it from there. Now, this one is not really
micronis. Let's see. So this grass crowned walls, we do need to stay around here, probably not asphalt.
Oops, it's a bit. Um, something like this over here, we already
got this one. So what I will do is I will
just go ahead and also get the norm map for this and try and see if I
can use that one as micronise because it's
just a quick add on. So let's go ahead and
just import this one. I do not want to
have this micronise going into all of these base color generates and
stuff like that. This is something that
I want to add on top and also something very important because as
you can see over here, you can see the little
stones and stuff like that. I'm going to on purpose, add a normal transform
and just go minus two. I guess you can also
use just to transform. But let's do
something like this. And the next thing
that I want to do is I probably want to do that whole directional wop
thing where I grab Oh, my screen is a bit
laggy for some reason. I grab this
directional wop Okay. Yeah, that's warping,
although it's hard to see, but you can see
that it is warping. Then next what I'm going
to do is I'm going to add a normal combine, and I do not want to
have this stuff on my over here on my concrete. What I'm going to do is I'm
going to blend this again, using a normal color. I'm just going to
hold control and then just blend it like
this. There we go. Then do a normal
combine for this one. Okay, so that adds
quite a bit of noise. Now at this point,
I just need to go in and of course, we
don't have a trend. We don't have an
intensity slider, but we can just add a normal
intensity node over here, which allows me to
basically go in here and control the
amount of noise. We just want to give it here. You can see that that's quite
the difference already. Give it some micro
noise in my normal map. Now the next thing is
where the hell's Oh, wow, roughness is all
the way over here. Next thing is that
we need to work quite a bit on our
roughness map. So let me just go ahead
and move this over here. Let's see, we have a base
roughness, it's quite dark. This is just like
rendering the cache again. This is just like a bunch of
that additional roughness. So we can probably work
after the scum scan. So we have this one.
Let's add a blend. So dirt, leeches maybe
just like a random crunch. Let's start with
the dirt over here, add it, and then set
our blend to well, art. There we go and just
make it quite white. Then over here, yeah, we can do these
ones as highlights. Let's go ahead and these ones. And it's probably okay
if I make them darker. But if I do that, I just
want to make my hiscum range over here a little bit whiter. I make my hiscum
inge a bit whiter, and then I bring in some of
these highlights that will look like a little bit shiny
when the light hits them. And then I should also have
my leeches, which are here. Let's go ahead and set these
ones also to art so that they are nice and dull,
something like this. Okay, so that's just some
quick adjustments already to our norm map and to
our roughness map. Just queuing it up a bit. So we got that one. Let's have a look at my list. So art Base color sharpness. Um, improve the concrete normal. Yeah, it's fine. And
we have our darts. The next thing that I
want to do is I just want to push the blue,
a little bit back. I feel like it's a little bit
too intense for my liking. So this will be quite slow, but let's go ahead
and go in here. Main stone color, and just push it back a little bit and
give the second to render. Yeah, we got that stuff done. I feel like my concrete
in between here, we can probably in our hype map, make it a little bit
more dramatic just to add some more
visual interest there. Um, Safaluco, so it's
mostly like the sharp, it's like the colos. Oh. Okay, they are a
little bit stylized, but they should not be too bad, so we can just do
some small balancing. But the balancing I
rather want to do that when we are
actually wheel engine because then I know which colors work best with
our environment. It is something definitely
I need to keep in mind for these stones over here
that these stones do actually end up looking
realistic and not like bad. Luckily, we are
going to use stil or we are going to use
unique textures for those. So let's have a look. So we got, I can see all of
the elements that we need. So let's just see
how this looks. So if I go ahead and I have now changed my blue
stones over here. I do kind of regret
having like this really long one over
here in the center, but wait too late for that, and it shouldn't really
matter too much. So if we now go ahead and
just go back to marmoset. Go ahead and look at
our displacement. Okay, so that is tone down. We got that sharpness in there. We now got a much better
roughness map also. So we got those elements there. I'm going to make the blue
colors a little bit less, and I was going to
work on my concrete. So I still feel like
this blue color over here is still a little bit too strong. So let's scroll down. Tone it down a little bit. And Hmm. I almost feel like it doesn't
really tone down much. I mean, I can just use an HSL if I really want to behind it. And then in here, I can, like, set saturation if it doesn't really want to do
exactly what I say. Here, zero point
Oh, it's so slow. 0.49 maybe in saturation. Because now we get, like,
still, like, the bluish tone, but it's not it's more like
white blue than blue blue. Okay. And yeah, I will clean
up this carve in a bit. So we were also going to
work on our concrete. And we want to add that
into our height map, but I want to add
this after the fact. So I'm going to add
a blend over here, and I should be able
to just kind of reuse this noise up here, and I should also be able to basically use this
mask over here. Oh, I need to not
invert the mask. So let's just go at hold
Control. There we go. Okay. And then this
one it can just be like a simple multiplier. Maybe art. I think
I want to do art. Also, if I just have
a look at my mask, yeah, that's a bit soft. So this art will just increase some spikes in our height
map, which is fine. Now, if I have a look over here, I probably also
want to go in and increase the intensity
of this normal. But another important thing
that I want to do because it's not very sharp right
now is that even on here, you can still use
a sharpening note to increase your
norm map amounts. So I can like a sharpening here. And another thing is that I
was going to have a look. So shoot already, if I just
reset this, add some spikes. Yeah, see here, my concrete now already looks a
little bit better. And also the stone now
looks a bit better. I do feel like everything
feels a little bit almost like it's a
little bit desaturated, which is kind of funny. And I have a feeling that's just because we made our dirt
probably a little bit too dark. So if we just go
ahead and go in here and if you can remember we
have this one over here, let's add an HSL
note after our dirt. And then what we
can do is we can push the lightness
out a little bit. And maybe also like playout
with the saturation a bit. Um, I will tone my
saturation back down to 0.5. And I'm just checking
my folder to make sure that it has
exported everything. Yes. Okay, that's better, yeah. So that's already
looking a bit better. And for the rest, I'm also
gonna go in here and maybe, let's play like a tiny
bit just with my light because light actually also
makes a big difference. Let's have a look.
So this one can be a bit brighter. And
let's have a look. So our roughness is now
looking pretty good. I feel like we now start to
get that sharpness in here. So I think we are at
a point where we can take another picture just
to see how it looks. So if we just go
ahead and render picture and while
that is capturing, I can go in here and
let's have a look. This one is for our
edge highlights. I'm just going to go
ahead and I'm going to push these in here
like this. Okay. Yeah, over here like
this kind of stuff, you can choose to
definitely have a portal. Like we can go just portal. Go in here, call
this color mask. And then just go in here and portal color mask.
And just add them. Just like whenever you
have a connection, it has a lot of connections
like this one over here, also has a really large
amount of connections. So what I can do is I
can also go over here. And then, portal, and
this is going to be like concrete mask,
just a cleaned up. And if I just click on these
two, I can know like, Okay, so if I place a portal here, that's going to be
our concrete mask, I can plug it into this one and I can plug it into this one. And I can go in here.
God, it's like a lot. It's even difficult to see. If I go here and
do like a portal over here that I would
call concrete mask, it is. I believe this
one? No, it's not, yeah, this one. No, it's not. See it's really difficult, see. It's this one. This one. This one and this one. There you go. S in that way you clean things up
a little bit better. Yeah you can keep doing the
same as much as you want. Let's go out and save our scene. Let's have a look
at our image now. So if we go source
files, images. So step number one.
Step number two. Step number three, see?
We are getting there. Definitely now it's
starting to feel a lot more realistic over here. And I would say
that at this point, yeah, here, we got the concrete in between that's looking good. Of course, there's some
stuff I need to keep in mind that we will have moss and
everything in between here. So I would say that
probably at this point, we can leave it because we spent quite a bit of time
on it already and we can do another polishing phase
when we are actually inside of real engine because what we need to keep in
mind that there's a lot of don stuff that will be added
to this material like moss, additional dirt,
additional roughness, variation, stuff like that. We will work on a
material for that, probably actually in the
next chapter. Oh, sorry. In the next chapter,
we will first create our stair so that we actually have a model that we can
make the material for. So I think for now, I'm going
to close of this chapter. Like we have a good texture.
It's not final yet, but it's definitely getting there and starting to
look a lot better. So I'm quite happy so far. So let's go ahead and continue on to our next
chapter where we will be working on creating
our first final model, and we will take this model completely to final from zero, completely to final with
all of our materials, all of our ardons, everything, so that you know the
entire workflow. And then it's just a matter of doing this to
multiple models, and I will, of
course, show you how to do them in real time
for a few of them. I will show you in real
time, how to do the stairs, how to over here
these corner pieces. And the reason I want to do that is because I'm going to use the displacement features inside of a wheel for that,
which are new. And I'm going to show
you how to create the entire doorway over
here with the roof pieces, which will give you
all the skills needed, and then I will time laps
the side pieces over here. And, of course, I
will show you how to do some more detail modeling. So that's basically the plan. So let's go ahead and continue with this in the next chapter.
30. 30 Creating Our Stairs Part1: Okay, so we now finished
all of our textures. So the next thing that we are
going to do is we are going to take a model completely
from start to finish, creating all of our
unreal material assets and just making sure that all
of our systems work well. Once all of our systems
are working correctly, it will be quite easy
to just basically take all of the other
models to final. We're going to use
our stair for this. So as you can remember, we will make our stair
in this style over here. And what we'll do is we will probably go
ahead and create, let's say, like three
different stair pieces. I already selected them over here because then these
pieces we can just use over and over
again to basically create different
variations here and there. Can do this simply by
shuffling our stones around. Now, one thing that
we do need to keep in mind is that we are going to have some concrete and stuff
like that in between here. So, most likely, what we will do is we will
shuffle rows around. So I will make every row
in a way that it works, it's like a standalone
piece so that we can just, like, switch them around. And yeah, we'll
take it from there. So, the first thing
that we need to do is we need to start
by creating our model. As you might know,
we are going to use nanite for this in order to really push the
quality of those. So we are going to basically
sculpt a bunch of rocks, and we are going
to just place them in the correct order over here. Now, for this, what we can do is we can go ahead and just select these
three assets over here. I'm just going to go ahead and
go into my modeling tools, and I'm going to go
ahead and I'm going to press merge and press accept because now when I merge them,
they become one model. And when they are one
model, I can go ahead and if we go in our source files and exports, From Unreal. I can go in and I can make
a follo called from Unreal, and I can basically right
click Asset actions Export, Navigate to your
From real folder. And in here, just call it
like a Sir score lockout. And we can just go ahead
and turn everything off and Empress Export. So now we have
Export at our model, and now what we can do
is we can go inside of TS Max and load in this
model. Here we go. I already went ahead and I already imported my
model over here. Now, as you can see,
the reason that this grid is so
small is most likely because I think I set my units, I set them to centimeters. Now at this point,
I probably want to go back to meters over here. Then with your grid, but you can also do to increase
your grid you can right click on any of these
four buttons over here. Then in here, you
have your home grid and you can set the
spacing to be 1 meter. This way, it was
spaced by 1 meter. This looks a little bit
more logical because I can remember that we
went for 2.5 meters. So we have these stairs. They don't have to really
stay in the same position. So I'm just going to go to
my side view and kind of, like, move them over here. The reason I wanted this model, if I just turn on my edge of *** is because I can
already just go ahead and turn this model into various blockouts of our stones to save a little bit of time. And then it's just a matter of basically sculpting
those stones. So if I go ahead and right click convert to added pole that I
can edit my mesh, I can then go into the Jomtre
Atap and press Quadify, this will well, normally, it gets rid of all edges,
spurs control backspace. Okay, these edges I
think they are broken. If they are broken, super easy, just delete the pass and
it looks like these phase, we also want to delete and then simply go in and
bridge the phases. Over here. And now
they are clean phases. There we go. Next
thing that I want to do is I want to just
go ahead and press five to go to my element select I'm going to go ahead and
I'm going to press detach. Do the same over here, detach, and I'm just also clearing
my smoothing groups. There we go. Now we have our
three models ready to go. So in terms of our stones, so all of our stones will be contained within
these three models, and we will make it so that
we can basically stack this. If I just go ahead and
go to my Swift loop, and if you don't have
this modeling menu, you can just double click,
but I do assume that you know how to get it if you
know how to use MX. And I'm just going
to go ahead and I'm basically just trying to mimic roughly the
size of these stones. Instead of thinking myself, it's better to just copy. So this one, this one's
quite long, quite small. Uh, I'm gonna make this
one a little bit longer. Okay. Number two. It's gonna
be quite long. Tin one. Another thin one. And
something like that. And number three is going to
be let's see, like, short, medium, medium,
medium and small. And there we go. So now we already have a few
different tones. At this point, you can just go ahead and go to
your face select, select each face
and just pla detach over here to turn it
into its own piece. So these are the stones
that we will be sculpting. Now they are quite a bit
of stones to sculpt. You could, of course, Like, if you have different
sizes, you could, of course, reuse those stones also
to save a bit of time. However, since I'm
going to time lapse it, I'm just going to go
ahead and sculpt it. I'm going to use very
simple techniques to sculpt it because we are going
to once again later on, manipulate them a little bit
inside of subsisPainter. This case, yes, because
we are going to use subsists painter instead
of designer for this. So for now, just go ahead
and detach it over here. Now, with all of this detached, if I go ahead and
go to Isolate mode, you can see that there
are no faces here. Quite easy just
select everything. And inside of other softwares, you probably need to select
the edges and press fill. However, inside of Tres Max you just can go here and
you can press cap holes, and then right click
convert to addi ply. Now all of these stones, see, there are their own pieces. At this point, what I'm going to do is I'm just going
to go ahead and already give it some variation
that we are ready to go. So um, Oh, that's
an interesting one. I guess for variation. Hmm. I guess what I want to do is let's go
ahead and yeah, select everything, and we kind of need to, like, No, wait. I cannot select everything.
Select one row, press Alipoli and
we kind need to make them a bit
longer because else, I'm not able to add
variation to it. So if I just go ahead
and add a pool, but that should still be
fine because of the way that we are placing this,
yeah, that should be fine. So this will also add
a poly added poly just allows me to dd all
of these models at the same time. There we go. If I now right click and convert this back
to an added pole, all of them so that it's just like I basically collapse
on my modify stack. Now I'm able to basically
select one of these, see, and move them down
a bit. Same over here. This one, it looks
like it's more in the front direction and
a little bit over here. This one looks more like
it's a little bit sideways. And in terms of over here, to have the gaps, I on purpose do not want to
create any gaps like that. What I will do is I
will sculpt the edges, which will make it seem like there's a lot of
geometry behind it. However, in the end,
there will not actually be like these faces will still be touching each
other, most of the time. And this one, I'm just
going to go ahead and says move forward and this
one a bit like this. There we go. So that's it. It's just quite simple. Can just go in I'm actually
going to move this one, a bit forward and this
one may be down a bit. This one, I'm going to
go ahead and move up. These two I'm going to move
down and then this one. So this just saves
me a little bit of time because for me, I'm more comfortable working inside of three Max than Zbaj. So this is just extra handy. Let's move this and also move
this one bit further down. And then the last one,
it's just going to be it's a little bit. What you can also do we can do stuff like this where we are
kind of like moving it out, but I'm leaving the backside. But we need to be very
careful with that. So I just want to try and
avoid that most of the time. Move this. Move this one. But And maybe this a tiny bit over here. There we go. See? Nice uneven stones
ready to be sculpted. I can go ahead and I will
actually at this point, need to create some
folder structures. So if we go create a folder
called saves in here, I will create a
folder called Sir. And in here, I'm
going to just save all of my stair pieces. So let's go ahead the file, save as stairs underscore LP. There we go. Okay. So now
what we can do is we can go ahead and we can export
all of these shapes to Zbrush where we can start
with the sculpting process. Most of this sculpting process is mostly just
like damaging some of the edges because all
of this stuff over here, we are going to use our
height map for that. So it's mostly
damaging some edges, maybe here and there, using our clay buildup to just build up some shapes,
stuff like that. And I can show you how to use Alphas although they don't
always work really well, but I can show you like,
maybe it will work. Let's go file export
export selection. And you want to go ahead
and exports this to the Exports folder and then
create a folder called two Z. That's what I always
do for two Z brush. And it's going to be OBJ
Stairs underscore LP. Save Z brush. Okay. Done. We can
switch Z brush. Do the same stuff
where we low down the range of a document
and make it a bit bigger. Go to import. Let's go ahead
and exports to Z stairs LP. Let's go ahead and just
drag these all in here. Let's double check
that they still have the same or different groups, which they do, which
means that at this point, I can just go ahead
and go to geometry, dynamesh, turn on groups and
do the same stuff as before. Let's start at like 1,000, and let's just go
ahead and dynamesh this. How does that look? It looks okay, but
I probably want to do another subdivision after this, but this
should be fine. So now, I guess we
know what to do. You can just go ahead
and go to split, group splits and press Okay. And now all of our
stones are individual, so we can now go
ahead and get started with the sculpting
of our stones. So this is probably a good
point to stop this chapter. In the next chapter,
what we'll do is we will sculpt some
stones, and after that, we'll just have a
long time lapse where I will be sculpting
all of these stones. So let's go ahead and continue with this
in the next chapter.
31. 31 Creating Our Stairs Part2: Okay, so now let's go
ahead and get started by sculpting our
bricks over here. As you can see, they are
a little bit sharper, so we are also
going to make them a lot less softer
than over here. You can see that these
were quite soft. And that's where we kind of went a little bit wong last time where I made them
a little bit too soft, but luckily, we
managed to fix it. So with this one, I'm just
going to try to avoid that, especially have the sharpness
on the top over here. So we are mostly going to focus on manipulating the edges. We will go ahead and do, like, a little bit of just like
depth on the stones, but as you can see,
they are quite flat, so we don't need to
do it everywhere. So over here, let's
just go ahead and do I'll do two of them. I will do two of them,
and then I will time laps stress because it's
quite a bit of work, but it will look nice. So if I go ahead
and switch over to my drawing tab, let's go solo, the first thing that I
want to do is I want to go ahead and go to
my geometry tab and subdivide this one to give me
a little bit more geometry. Now the next thing
that I'm going to do is I'm going to
prepare my brushes. There is actually another
brush that I am going to use. So we have our clay burp. We have our trim dynamic for which you just need
to go ahead and set the Alpha to a square and make the focus
shift a bit lower. Then there is another one, which is quite
interesting, and that is if you go to light
box over here, and if you then go to brush
if you then go to trim, it's a classic the
trim smooth border. This trim smooth
border allows us to do much harsher cutting. If I go ahead and go here and
use a trim smooth border, which is selected now, you
can see that over here, it cuts very sharp corners. While the trim dynamic
as you can see, even with a low focus shift, it cuts everything a lot softer. So the trim smooth board
is often used whenever you do real rock sculpting
because you can use it to, like, you know, we
just quickly go to it. You can use it to
really quickly, just cut away large
pieces of okay, I'm doing that completely
wrong to cut away large pieces of rock and make them look quite
sharp and organic. So, start with this and make your brush
really big and then, start cutting away like this. And I'm doing it
like really messy, but like that, you can really quickly create like some
very nice sharp cuts. That you can then later on, improve by sculpting more over it over here and
stuff like that. So those are the ones
that we are going to use. Basically, what I want to do is, I'm just going to, of course, do all of this because I
don't like the look of it. If we have over here a stone, we basically want to
just go ahead and use a trim smooth border
to create a few cuts, and then we want to go ahead and for the rest, use
the trim dynamic. Now, the first thing
that I want to do is I'm just going to go
to my clay buildup, and I'm going to give it a
little bit of clay buildup just to give it a
bit more shape. Like a little bit here, and I want to try and avoid the
clay buildup on the top, because I feel like the top it wouldn't make too much sense because we are just
going to damage it. You can do a little bit maybe some rounding
near the edges, but over here, a lot of people have probably
stepped on it. So you probably don't want to
do a lot of rounding there. And let's say that over here, I go like this. Maybe make this one a
bit bigger. Like that. There we go. Amazing brick. Anyway, at this point, we can go ahead and go into solar mode, and we are going to
get started by just grabbing our trim smooth
border over here. And then I'm going to just go ahead and give it,
like, a few cuts. So this does require
quite a bit of, like, doing some
indoing sometimes. And also another
thing that I want to show you that you can
use to your advantage so I'm just going to go
ahead and cut this away is that if you go to
your picker over here, you have your orientation. Your orientation
dictates in which well, orientation, your
brush is pointing. You have the mouse down orientation and the
continuous orientation. With the mouse down, what it will do is basically
when I click, that will become the
orientation, see? If I do a continuous
orientation, it will try to keep
calculating the orientation, as you can see over
here, which will make basically everything
a little bit soft, but it still creates this
really sharp effect. And this one I personally
really like to use whenever I'm sculpting slightly
smooth looking stones because you can see
that over here, especially like in these
areas, we are cutting away. But it's still different
than the trim dynamic. If I do the trim dynamic and trim dynamic should
reset the okay. The trim dynamic has currently a continuous orientation like this and if we don't
go once orientation, yeah, you can see, I guess, the trim dynamic is always
on continuous orientation. I actually never really checked because I
never really used this mode with the trim dynamic. But basically, that's
a general idea. So let's grab a
trim smooth border. Double check our picker. And let's just go ahead
and just start chipping away at the edges, sometimes a lot,
sometimes not. A lot. We just want to still
make all of these edges. And I do go over all of the
edges, but like I said, like this, these stones are going to actually
be in this formation. We don't really need to spend
time on the back over here. We just want to go
ahead and sculpt them somewhat in context. So here I'm just
like if you want, you can literally
sculpt like this. I never really like
moving around. It feels a bit more restrictive,
I mean, you can do it. Over here, you can see that
we are going to go for quite sharper looking
details over here. And you can see that also,
it's quite nice because it does some cutting inside of, like, if you just
hit it to right, it will do some
cutting inside of, like, your mesh over here. And this is basically
like the messy pass. So we go over this, and I will still try to do
it a little bit slower. But of course, with
the other pieces, oh, that's one I
don't really like. With the other pieces, I will probably do this
really, really quickly. So we will go over all of
the pieces really quick. And then because it
also gets time laps, it will feel even quicker. But just try to basically
give it like s, and over here, this one. For this one, I
probably want to use a trim dynamic to
real like, Oh, God. It's like soften it. Why is my trim dynamics? It's square Alpha, lower
Where are you picker? Maybe I need to do one
orientation after all. I guess in this case, it works, but I'm pretty sure the
trim dynamic is by default, by default because
it feels different. So it should be in
this one by default. Yeah, yeah, that
feels more natural. I guess it was just a
really awkward angle. So with this one, I'm a blended out with
the trim dynamic. And for the rest, another
thing that you can do is you can use your move
brush over here, just to give it a little
bit more like puffiness. Over here, just to make it
feel like a little bit less, and then over here, you
kind of want to push it in, something like this. So that is totally fine to do because we
are going to actually use this mesh later on to
turn it into our low poly. So now you can see, we
have some puffiness, we have some general
damage going on, and now I just want to go
in with my trim dynamic, and I can go probably
do like solar mode now. I can go in and I'm basically just going to go
ahead and, like, try to soften it out while
also capturing some of those harsh angles, as
you can see over here. Yeah, I'm just trying
to capture some of those harsh angles, all
that kind of stuff. Just to give it a bit
of a rocky shape, and then I am still
going to rely on my textures to later
on add more to it. So I do want to show you, something that I have no
idea if it will work, but I want to show
you the technique. So it's not really a lost
case if it doesn't work. So over here, I'm just
blending this out. Over here, I'm just going
to give a bit of softness. Finish this, and
then I will show you that other technique that
I was talking about. I still feel like that miss focus shifts all the
way down because I still feel like it's a
little bit too harsh. And over here, once again,
I'm just trying to get rid of those really typical square
alpha looks that we have. I never really like having that. Like, having it a little bit is fine because you
can see how much of the details get lost
when we actually start applying our textures
now that we've done our, but just in general, like here, something like that
is totally fine. We got just like some
interesting shapes. See around the back. I just want to kind of do this, and then I can just
go ahead and I can, like, have another
look in context. I know it's this one
I don't really like, so I'm just going to go ahead and maybe I'm even going to, like, hold shift to
soften it a bit. There we go. But, yeah, you can see that these
ones are definitely like a lot sharper. I'm not saying like I'm
not the best at sculpting. Like, honestly, I wish I was as amazing as those
artists who can, like, sculpt like everything
from start to finish completely inside of Sbrush with lots of detail
and everything. It's really amazing to
me. But I personally, can get by, but that's about it. So don't expect too much for me, but these are the
same techniques that the good sculptors
are using basically. Over here, this kind
of stuff, if you want, you can hold Alt and kind of, like, fill it in. I would say that
that kind of stuff, it will not be that obvious once we get our textures
and stuff like that. So it's more up to you if you want to spend the time to kind of fill that in a little
bit and stuff like that. So let's say
something like that. See? That kind of feels like a cobblestone type
brick, I would say. I would say that that
is pretty much done. Now, what I will do is I will
go ahead and do one more. As you can see, one
thing that I did is I did not touch
the faces over here. I made sure that you cannot see through them and also over here, I made sure but this one is
a little bit more difficult. He can see a tiny
bit of see through. But that is something
that we are going to resolve later on
because we are going to have some concrete in between all of these
cracks over here. But I do want to still
keep it as a minimum. So for this one, once again, we can just go ahead
and subdivide it. We can go ahead and go into solar mode and once again, oh, actually, so let's first of all, before we go in solar
mode do clay buildup. This one I can see that if I
just look at some reference, let's see, there's a
little bit just like here. And then there's just quite a bit over here,
something like that. Just following the
reference a little bit. Then over here, it
it starts off here, but then it tapers off. Maybe do a bit of this. A bit over here, maybe
a little bit over here inside. Yeah, there we go. Should be totally
fine. Anyway, solo, scrap our trims will border. Double check picker. Count Auri. Let's make it a bit smaller. Let's go ahead and start by
chipping away at arburc over here or stone I normally
just call it cobblestone, W. And over here, I'm just like if you
sometimes go too deep, you know it, pressing contro Z. Like, it does happen sometimes, but you don't want to go
too overboard with it. So over here, you can see that I am really destroying the edges, but as long as it feels good or looks nice, I'm fine with it. I do now it's like over
here now that I get like a bit the edges are a
little bit too smooth, so you can see that whenever
they become too smooth, I just go from the side. Sorry, I should here. I go from the side,
and then I kind of, like, push them out a bit, see? And then they become a
little bit harsher again. So that's a good
technique if you want to, like, make an edge sharp. You can see that you can
make it really sharp. And stuff like that. Over here, I'm just trying to make parts of it sharp and then
the rest a little bit smooth. These bits over here, I don't know if you
can really see them, so I'm just going to do
them very, very quickly. Over here, once again,
I don't want to damage too much because it's
all the way in the back. Yeah, normally,
because, of course, doing this type of sculpting is often quite time consuming, one of the reasons
I time laps in, but normally just like, listen to some music, whatever
you want to listen to, relax, take your time. And if you feel
like that you get bored or something
because sometimes it can get a little bit boring, at least to me, then
please feel free to, like, take a break and then come back rather than
trying to rush things. I say that, but this is one of those situations
where do as I say, not as I do, because I will because of the
sake of tori, rush it. But that's just because
I don't have a lot of time to really dedicate on doing some sculpting since this tutorial is going to be like
30, 40 plus hours. So I have plenty
of other stuff to do. Okay, so over here. See I will polish now the trim dynamic and
see if I can here, there we go fix this area. Now I just go with
my trim dynamic. Sometimes you can
notice over here, I feel like I don't
have enough geometry. I can always just go
in and subdivide it. Just depends how much your PC
can also handle, of course, but mine can handle up to, like, I think it was like 100
million, 150 million. So often doing this kind
of stuff is totally fine. And that's with 30 90. So if you have 30 40 or
something like that, you can probably
go even further. But yeah, it's always good
if you're new to Z brush, also to just stress test, see how much you
can push it because it's better to know
beforehand how much you can push rather
than ending up finding it out
because your Z brush crashed while you
were sculpting. And that would have been pretty
****** if that happened. Let's have a quick look
outside of solo mode. See over here. Come on, I want to make this
one a little bit softer over here. Transition. Okay. Yeah, I like
these edges over here, where there is a little
edge that's splitting up. Like it feels a lot like rock when you
do that kind of stuff. And over here, it's mostly
just like filling it up a bit and then going over it,
just trying to kind of, like, get rid of those
sharp sometimes just literally just going in
circles also seems to work. And it's okay to also, have it go up and down a little bit. Like even though it's stone like it still has to be natural. So it's fine to
have these dips and stuff. But there we go. Like this is probably
as much time as I would spend on one rock, because I still
have so much doing. Of course, when you look
at it from a distance, it's also the bigger picture. So that was about it
for our sculpting. Now let's go ahead and kick
in the time labs where we will be sculpting
all of these rocks. If you want to save time, I'm just going to go ahead
and just push through. If you want to save time, you
can sculpt the entire rock. You can duplicate it and place
it in different locations. So please do not forget that you can do that as a timesaver. And I'm going to
just go ahead and, like, push this
out a little bit. There we go. Okay. Cool. And
let's not forget save us. I will save this for
you guys in saves. Stare Stare underscore, sculpt. And that's where you
can find this fine. Although by this point, you
probably already found it. Awesome. Okay, let's go ahead and
kick in the time maps and start by sculpting
all of these stones.
32. 32 Creating Our Stairs Part3 Timelapse: A I D. D. D. D. D. D. D The I
33. 33 Creating Our Stairs Part4: Okay, so I pretty much have my hi poli done, as
you can see over here. Now, the workflow
we are going to use is actually quite
non destructive. So right now, I over exaggerate, like some of the
puffiness of my stones. If I find out that I don't like that look and
I want to have them, like, more flat and
stuff like that, I should be able
to still edit that without too much effort,
although I will need to, of course, then re UV unwrap it, but for the rest,
that should be fine. So what we're going to
do now is basically we want to end up with a
bake that has well, an embientoclusion
and like a norm map. So that's the main goal. We are using Nanite. We are using Nant actually
to the fullest extent, which means that
for these stones, we are going to optimize
them just to make them more manageable because
right now it's like 10 million polygons. And just in general, UV
unwrapping and texturing 10 million polygons is almost impossible when it comes subs
painter, stuff like that. So we are going to optimize it, but we want to try and keep
as much of the shape intact. So what we can do
is, first of all, yeah, make sure to, like, save. Next, what I'm going to
do is I'm going to go ahead and I'm going
to save as again, but this time stare, sculpt, underscore LP low
poly over here. And our general idea is this, I will just show you
with one of them. If we just go to solo. We are just going to use
out optimization. That's the easiest one
for this kind of stuff. We don't really need
to do manual re topo. You want to go to Z plug
in and drag it over here. Remember how we used the
decimation master before, so we can open it up and we simply want to
press pre process current. This will basically analyze our geometry so that it
can properly optimize it. Now, as soon as that is done, over here, you have your
decimation percentage. You can also set it on
a specific PL count, but I like to use this one. When it says 20%, it means that it will leave 20% of the active points left. So if I press decimate current, you can see that now
we are only at 80,000. However, the decimation
master is really good at, like, keeping the shape intact so he can see
almost no difference. Now, what I like to
do is, I like to just press preprocess
current again. You could go to 1%,
but I personally, for the first one, I just want to actually have a look
and see how low I can go. And here we are at around 3,000. This is probably,
let's see, 3,000. Yeah, I don't see much
difference 15000-3 thousand. So we will probably go ahead and hover around 3,000 polygons. And then, of course,
what we'll do later on is we are going
to have our nor map, and those two combined will
turn this back into, like, a really nice high resolution
or high quality mesh. So let's say that we will go around let's say between
three ho and 6,000. So yeah, you want to
go ahead and do that. Now, we can do this for
all our individual stones, but all of these should have roughly the same polygon count. So what I'm going to do is I'm actually going to
go ahead and do this Was this it? Yes. Okay, like this. And I'm going to go ahead and I'm going
to press preprocess. What this will do
is it will recycle through all of these
rocks over here. So if you just press preprocess and it will just like,
calculate everything. Now, this can take a while, few minutes or
something like that. So I'm just going to
go ahead and pass the video until that is done. Okay, so now it is done. Now, because I know
that I had to press the pre process a few
times on this first brick, I'm going to go ahead
and start with one, which means that
we will only leave around 1 million
polygons or points. I should never say
polygons, but just points. So then we can just go ahead
and press the decimate. And the decimate, I don't
know how long it will take. It should not take
too long. Okay. For some reason, it decided
to drag in a new mesh. If you have that
just press contra N, that's really strange. I've never had that before, but this mesh is, if you just look at the jom
tree, yeah, it is optimized. We are now at 100,000 polygons, and this one is at
3,000 it's interesting, but these ones are
still at 24,000. I guess there is still
quite a difference in that case,
between the bricks. In that case, what
I'm going to do at this point, sets back to 20. Yeah, I'm going to go a
little bit more manual just because when we are this low, the preprocessing and everything doesn't take a lot of time here. Done. So I can just go pre process current. 4,000 is good. This one is 7,000. I'm going to leave that.
This one is 4,000, going to leave that,
5,000 is still fine. 7,000. 6,000. Like I said, we are definitely going to
bank on using nanite for this, so we can go quite high. And having around
84,000 points, yeah, that should be probably
good enough for us to be able to UVnwrap and handle this
inside of substance painter. Now, definitely,
for the UVNwapping we are going to use Rhythm UV. It is an additional software
that you need to pay for. It's not expensive, but it's something that you
can almost not go without whenever we are
Uvnwpping something this high polygon with
such a high polygon count. Now, you can remember how I said that we have those
holes over here. I decided because we
need to, of course, have these separate rows,
and we need to shift them around to
create more stairs. I basically decided to make those or fill up those holes
inside of Unreal engine. So we don't really need to
worry about it right now. We are going to just
texture this as one mesh, but then we can
just, like, shift it all around however we want. So our meshes are now done. Now, at this point,
what we can do is we can go ahead
and first of all, do another saves that we don't risk crashing and needing to wait again for
all of this stuff. So low poly, yes. And once again,
what I can do is I can press Export
All Subtools and hopefully it will
just work this time and not give any prompts
like we had last time. So I'm going to go to Exports. Let's go and create
a follicle from Z. And in here, I can just call it Stare and let's just
call it Stare score LP. And just press
Okay. There we go. Now what we can do is
we can go ahead and have we still loaded in
our tool, we have not. In that case, just click on anything that is not this tool, so like this one, and then just go ahead and
press low tool. And the reason I click on that one is so that I
don't have to drag it in. I can just press open, and
it should pop in like that. So now we have this one. We can also go ahead and
press Expert Al Subtools because only 10
billion polygons, so it's not that much for Z
brush from Z Stairs score H. And okay. Cool.
So the next thing that we need to do
is we need to go ahead and we need
to go into TriSMx and prepare our messages
for you via unwrapping. So here we go. I loaded up navigating to my
folders, I load up TresMx. You can go ahead and input it, and let's hope that
this time it imports correctly because most
time it inputs correctly. When you press input,
just press Import as editable poly and then
just press input. Yeah, perfect. So this time
it's worked fine. Okay, cool. So here we have our stones. Now, what you can do is
if you go ahead and you can go to your edges
and faces over here, you can see that this
is our geometry. Now, sometimes when we have
something really low poly, our geometry becomes a bit
messy and sometimes it breaks. The higher polar geometry, the less decimation master
tends to break the geometry. A way that I find the easiest
way to like very quickly, make sure that this is
all looking correct, is that I already load
up Rhysm UV. Here we go. This is RsmUV. We are only going to scratch
the basics of it, so I will just explain to you
everything that I'm doing. But basically, the
reason why we want to load up rismUV is because, Sorry about that. Press
the wrong button. The reason we want to load up Rhythm UV is because when
we load in our file. So if I go ahead and load
in my stair slow ply, it'll automatically show us
those arrows using colors. So if you have an arrow, it shows a green color, but it looks like that
because this is also hipol. I do not really see any arrows.
So we are really lucky. I almost never have no arrows. Basically, if you have an error, it will show you as
like a green color. I don't know. Oh, yeah, I'm sure I can mimic
it just to show you. I can mimic the error. So let's say that over here, we have a vertzi
and I'm going to, can I just, like,
splits to break? Okay, see, so now these
verts, as you can see, they are not merged together, which is not good because then
the UVs will get confused. If I now go ahead and
for the rest, yeah, if I just go ahead and
already quickly export this and can just export this over our sorry, OBJ, Seopol. Yes. This time,
I'm just going to export it as a Maple and export. Now, what you should
see is if we go back into rhythm and we
have a look at, and I'm just using Al left
Mouse button to rotate around light mouse button to zoom in or scroll wheel and
lmddlemuse button to pad. It's the same as other Soffas. If I go to files and press
reload and just press no, it should show and I
hope that there we go. See, you will see this. You will see a green arrow. And often this arrow
just means that you need to merge some
vertices together or that you just need to delete
the phases and create new pass because it is broken.
So that's basically it. So I can now go ahead and
go in here and I can, find that arrow,
which was over here. Going to press Alt x to go into X ray mode
so I can see it. And then I'm just going to
go ahead and collapse it. Now, what I want to do
to basically prepare this mesh inside of
trees Max is I just want to select everything smooth and just go ahead and turn on the smoothness
to one over here, just to make everything
nice and smooth. Another thing I like to do is,
I like to go to Added ply, then go into vertex
mode, press everything, so A to select all
of our vertices. And then I like to go
ahead and I like to go to my weld settings over here and weld it at
the lowest value. So 0.001. And now what
you can see is here. Although it's only two vertices, we are basically just like
welding vertices that are so close together that
they're just not needed. You can go, for example,
here to a bit higher. Let's say, 0.002. And now you can see that now we are already doing a few more. I wouldn't go higher than 0.005. I'm just going to leave
it at this, and you see no visual difference because
they are so close together, it just doesn't really matter. But like I said, we don't
really worry about polygon count too much right now because we are, of
course, using Nanite. So I'm going to export
this once more, replace it, export, and now it will properly
export everything. And now all that we need
to do is we need to go to Rhythm files and just press
reload to reload this file. And now it is a matter of starting to like UV unwrap this. So to UV unwrap this, I personally like to do manual UV unwrapping
on this kind of stuff. You can go over here to Auto
Sims and you can try to give it like automatic UVs. L over here, you can
do like a Mosaic UV. I then just press this
button over here? Oh, maybe it wasn't so smart for me to show you
that because it's, like, willy, time consuming. Oh, no, okay. So oh, wow. It did a surprisingly good job, actually, with the outer UVs. Now I look at it. So over here, you can see that now it
tried to do some outer UVs. Yeah, over here, it's
a little bit broken. So I guess it kind
of depends, like, how much time you want
to spend on this. Also, what you can
also do is you can actually remove these
backfaces if you want to. I'm not going to just
because, um, yeah, I'm just a little bit, it
will take up UV space, but I will make those UV spaces probably a little bit smaller, but I just don't
want to risk it. Anyway, these outer UVs, you can see that they
are not perfect. Like over here, I would have
run the Outer UV along here. And because I did do that,
you can see these red colors. The red colours
means stretching, which you do not want in UVs. But, I mean, to give it credit, it did a pretty decent job. However, what I'm
going to do is, I'm just going to once again just reload my mesh
just to make it easy. And I'm going to show you
how to do a manual UV and I will just go ahead and do
that for all of these stones. The first thing that
I like to do is, I like to go to my island mode, which is F four and simply select one of our
rocks over here. Then you can go ahead and go
up here to isolate or you can just press I to
basically isolate this mesh. Now I like to go ahead and go
to my edge mode over here. And now I can kind of show
you what I wanted to do. So for out UV, often, what you can do
with square stones is that we can only
have two UV islands, which means, well,
you should know probably watching this tutorial
what the UV island is. So we can have one
that wraps around from here to here to here, and another one that goes
towards the sides like that. So that's basically the channel. So often you only need
to place one edge, I completely lost
my orientation. Okay, this is my orientation. Sorry about that. So you want to go ahead and
only place one edge. So basically, what
we will do is, if we click here, a Rhythm
UV has a really nice, really powerful tool where
if you simply hold shift, it will calculate the
quickest part to your cursor. So I like to not
do it all the way. I like to hold shift, and then sometimes press it because it's not always perfect and then hold shift again
and press it again. Over here, I can see
some very small arrows, but that's arrows
that we can fix if they show up in our baking. So here I'm just going
to go like this. Like this. So now you can see that we are going
all the way around. And then instead of
closing this off, I actually want to go
ahead and I want to go to this side and do the same thing
where I go around here. And it doesn't have
to be perfect. Like we are not making this, although I would
recommend maybe moving your seams so that they go around the really large
damages over here. But we are going to make this in a way that you can almost barely see the seams even
after we finish texturing. But still it's good practice
to just move it in, like, logical places where you cannot really see them as well because SEMs show a break in your UVs. So once you have done your
selection, and you can see, it's all around, you can
press C to create a UV. Now at this point,
with this one, you can see that
now if I select it, I have this side and
I have this side. I can very easily just press unfold over
here to show you. And this one, if you go ahead
and um I always forget. In the rhythm UV you need to hold space. You can
actually see down here. You need to hold space and
then middle mouse button to move space, right mouse button to rotate and space left mouse
button to scale. It's a bit weird, like
I always forget it. But basically, you can see that this is now one UV island. I can select the other one and
also press unfold up here, and it will just perfectly
unfold this one, too. If I would turn on my checker, you can see that now we have
a really nice looking UV. There's a tiny bit of
stretching over here, but you shouldn't need to worry too much about that little bit. And that's the general gist of UV unwrapping these pieces. So at this point, we
can just go ahead and press Show and
Welch, if you want, you can just go to your UV tool, and then we can go to the next one and we can keep
doing this process. Now, you probably
guess what we're going to do is we are
going to go ahead and kick in the time
laps by now to just finish off these UVs over here.
34. 34 Creating Our Stairs Part5: Okay, so I have finished the raw UV unwrapping over
here, so that's ready to go. Now, as you might have noticed, and I've already
shown you multiple times throughout the time
and stuff like that, there are some areas where we have some small
smoothing problems. This is just because
the vertices are really close
unlike the edges. It's a common thing
with decimation master. It's something that we can
easily fix after the UVs. So we can first finish our UVs, get it all into the tresmex and then we will go ahead and just fix
the final problems, and then we can start
with the baking process. So what I'm going to do is I'm going to go ahead and well, actually
select everything. And let's start with like, actually, sorry, select nothing. Force of habit. We are going to start by just doing,
like in basic packing. So first of all, what I want to do is I
want to go ahead and go to scale and
press this P button. And what that will do is
it will properly scale our UV islands compared to the scaling in this treaty view, which means we get
proper text or density. Now for the margins, I often
like to set them quite low. Going to go ahead and
set them to let's do four and 16 probably
in the bedding. This will just make sure
that the UV islands are quite close together and
not leave too much space. Once that's done, you can just press this little Back button, and then you can see
that it will pack. Now you might notice that we
have a pretty big problem where all of the rotations are still the same orientation. What you can do is you can
simply select a UV island, and then over here, you have your aligned island and
you can align them. Um, sometimes this
doesn't work perfectly, so we can have a look, and that's probably
because there's like slight bends in between them. So if I just select all
of them, in those cases, what I just tend to
do is like over here, I press space, and I just
use my right mouse button. Sometimes there are just
like these little bands that can happen because we
are wrapping around it. But then it's totally fine to
just go ahead and do this. Wow, here they are
really messed up. Normally, it's not this
bad, let me mind you. Um, I think that's about
it? Did I miss any? No. Once you are
happy with that, you can go ahead and once again, just go ahead and go up
here and just press pack. Now you can see
that it will pack it a little bit closer together. Now, something that I definitely do notice is that right now it's not yet it's packing
quite badly, and I'm quite surprised by it because normally the packing is quite good inside of Rm U V. This might
just mean that we just have some awkward
packing proportions. So if we just go over here to the packing properties,
the accuracy, I'm going to set that one high and the iterations
to maybe two, which will allow it to
calculate a bit more. The initial orientation is fine. The optimizations. I can go ahead and I should
be allowed to, like, allow an angle of 90, which means that
it is allowed to rotate these UV islands around. Since we are doing stone, the direction of it
should not really matter because we're going
to use a unique texture. Is there anything else that I think that's it. So
let's try again. Okay, so now you can
see that the packing is a little bit better
because we allow, like, rotations and
stuff like that. But in general, sometimes you
just have a little bit of these awkward areas where
we are packing our pieces. Another thing that I
want to do is basically, I know, and I did
this specifically, I packed this one in a way that if I go ahead
and hold control, that you can see
that these side UVs, they are almost not visible. Also, we really spent
a lot of time on them. So what I like to do
is I like to select those side UVs and then
just hold space and then just use your
left mouse button to make them a
little bit smaller. Now, this will break
texto density, but because we cannot see them, it does not really
matter too much. So we can make them
a bit smaller, and this way, we can
save some UV space. In general, I'm not really
worried about UV space. The reason I'm not
worried about it is because we are
going to create a very special little bit
complex shader inside of wheel for which I
could literally make the final textures of
this stair 512 by 512, and it would still
look high resolution. So it's something that you
need to see to understand. So for now, just trust
me and follow along. We have this stuff over here. I'm going to go ahead and
set my padding actually also to set it to
like six, maybe. And yeah, I think
that's about it. Make sure to not do any
scaling at this point. I'm just going to go
ahead and pack again. Wait, I think that accidentally, messed up scaling.
Initial scale. I want to go ahead and keep the initial scale that
we have right now. And then let's go
ahead and try again. There we go. Okay. So
now we have everything. See, now it is
packed quite well. You should be able. Where is it? Oh, there I always
forget where it is. Like, there is, like,
a view somewhere here. Where you can actually
see how much of the wasted space,
you still have left. To be honest, I don't
I think they moved it. I cannot. I have no
idea where it is. So sorry about that.
There is somewhere here. Oh, wait. It's here. 77% of the space has been used, which for an asset
like this is fine. Like, I don't really
need to worry about it too much. You can go in. You can go ahead and do, like, small rotations and place everything manually
by hand if you want. However, I'm not
really the kind of guy that is going to
bother with that, especially not in tutorial, but also for an asset like this. So when you're happy, you can go at Press File and press Save. That's literally it. This
RsmUV saves over your OBJs. It does not actually save scene file or
something like that. So at this point, we can
just go inside of Tres Max, delete this one, and re
import our stair low poly. And press input. And
now we should have a filed UV unwrapped stairs. So if I go ahead and turn
off edge and faces and I go to my Unwrap UVW
modifier and press Open, you can see that now everything has been nicely UV unwrapped. Awesome. So at this point, the last thing that I want
to do just to prepare this is I'm going to go ahead
and go to Isolate mode. And without having my edges and faces turned on because
I cannot see that, if you see any really strong
black lines over here, you can just go ahead and move your vertices around
a little bit. A little bit of black is fine because our no map will
take care of that. It's more like if you see
really obvious black lines. So here, I'm just
basically looking around. This is more the ones
that I'm talking about. Although I'm surprised
that on say, let's go to Edge and faces. I guess we will need to one sec. I have a feeling like
we would need to, like, reset our transform. So if we just go
weight at normals, I'm just using my weight
at normals modifier. It's not the one
that I want, but it does seem to fix my problems. Yeah, so we'll just use the
weighted normals modifier. The weight to normals modifier, it is a technique
that I've shown you guys many times before in tutorals and also in
my YouTube tutoils. It basically manipulates
smoothing to get an hypole effect, but it also solves some of those weird smoothing problems, and it resets your normals. So what I can do is I can go ahead and probably just
select everything here, add my weight to norms modifier by default, and
that's totally fine. Like for baking, this will
actually look really good. You can even see that now
it's already starting to look a lot better, but
I still need to go in. And although the
weighted normals fixes a lot of the
smoothing problems, sometimes they are
simply too bad, but it looks like
that this time we did a pretty good job in fixing it. So you can see,
I'm quite flexible with these assets
that I'm not too strict in how they
will work and behave. Yeah, that's fine. Let's just go ahead and just
speed things along. I will just have a look at the actual visible parts
over here, I can see. Actually, no. You know what? No, I don't want to do
that, because I can remember there were
also some parts where the faces were actually sticking
through each other, which is not something
you want to have. So you could actually see, like a face sticking
through another face. I don't know if I can I will try to see if
I can show you, but I would first need
to, like, find said. Now, this is not a one.
I wonder where that was. I kind of forgot where
exactly we had a problem. If I really cannot
find it after going through all of these,
Oh, here it is. Of course. So here you can see, this is quite a big
problem where you can see that one phase or the virtue of one
phase is pushed below the virtue of another one. In those cases, you definitely want to move your
vertzi up because else you can get lighting problems even if your normal maps
are totally fine. So here you can see
me just fixing that. It is really easy to fix, but it is a fix you should know. Yeah, that's fine. So I just double checking
everything over here. There's another thing
that looks very warm. I see here, another one, you
just want guy move it back. And small movements like that, they will not really affect your UVs also
especially this one, it doesn't even matter
because you cannot even see it from that area. By yeah, this is just
part of the job fixing, especially because working
with a optimized hipolyasets, it's just a lot more
buggy than making manual making just like manual jomri and
everything like that. However, even though it is
a little bit more buggy, it still saves you a
huge amount of time compared to making it all by hand or reto or doing a retape or by hand
and all that kind of stuff. There we go. That
should be good enough, especially because it's an area where I do not really
care about it. Here's another one. Just
move it up. There we go. But in general, this one's
looking pretty good. We don't have too many bugs. So I hope you guys also
with your versions, don't have too many
insane problems or anything like that
because sometimes you can be spending an hour
just trying to fix these small annoying issues.
This one has quite a few. Okay. Cool. I think we are
ready for our baking. Now, in terms of the
baking, actually, first, let's save acne.
Give me 1 second. Actually, do I
need to save this? No, sorry I don't need
to save this one. I can just export
it because there's no difference right now
between this scene. Yeah, well, the
weight to normals, but we just adding that. So Sir, loopli and expot. So in terms of the baking, you always need to have a
think about like, Okay, what maps are we going to bake and how is this asset
going to be used? In this case, our asset, we will actually be using acid by moving like doing stuff like this where we
have one on top. So like add more variation to our stairs later on when we
are building up a stairs. You might want to
think, like, Okay, that might be risky in
the ambient clusion. But I feel like because
it is so consistent, we probably don't have
any problems with that. You might also think like if you ever bake a normap
and you want to make sure that you do not get any normp issues
in between here, then of course, you might
want to temporarily move all of your high and low
polis away from each other. We call this exploding, or you can just use like
a technique where you are baking every
stone individually, but baking it into
the same texture. This is something you
can literally look up on Google if you want
to use that technique. It is just called like in marmoset, it's just called like, um baking using different
or I don't know. Probably we got marmoset, multi mesh baking or
something like that. But it is something
that we will simply not go over and disuoil
because it is not needed. So anyway, we have our assets, we export them to a OBJ file. So now what we can do is we can already go ahead
and do our baking. So if we just go in and open up MamosetTolbag over
here, there we go. I'm just going to track in my stair low poly and
my stair high ply. Give the second to load in. And the baking process is very similar to
the baking process that we did using our wall. So what we want to
do is we want to go ahead and first of
all, let's do file, save us SourceFlesve,
Sir bake scene. Next to that, I'm
also going to go to Textis Let's do assets. Stare on the score 01. I always like to stare
on score 01 in case I ever need more stairs
or something like that. And a folder called bakes, and this is where we are going
to place our baked maps. Now, you know what
to do. You just go ahead and press
the bake icon. In the output, we can
already, place our folder. Bake it as a PNG because
that's the one I like. Oh, no, wait, sorry. Let's do TJ because we don't
need a height map. I only bake PNG when I need a height map, but I prefer TJ. It's just a preference
and force of habit. Call it stare on the score 01. Now go away. Now in our samples, 16 bits. We are going to bake
at Fok resolution. However, we will not be
using four que resolution by the time we get to unreal
engine most of the time. In the maps, since we are going to create
unique textures, we can already bake a
few additional maps. So we can bake the
normals object space. I want to bake the position map inside of substance
painter because else to position maps need to be 16 bits and I don't want to keep switching
back and forth. And we need an
ambient occlusion, and that's pretty
much all we need for now. Yeah, that's all we need. Having that done, last thing that we need to do
is we need to go ahead and add our HP into
hi poly, LP into low. Make sure to turn off
out the bake for now. Turn on the high,
and the high and low poly are so similar that we can make our cage really small because you can see like there's almost no difference because we are working with
high poly models. That's a nice
thing. It will make baking super easy because here, you can almost not see the
difference between low poly. But now, when you
are happy with this, you can go ahead and feel
like I miss one map. No, no, I don't. Okay. You can go ahead and you can press bake. Now it will quickly bake,
and it's already done. So it really quick. Now if you press the P button,
you can preview your bake, and then you can see like
this is the lowly and it's a solid difference,
but this is the hypol. Of course, it has
an ambit seclusion. But as you can see, I'm happy that we did the
embitclusion like this because it will still translate
well on other assets. So that's already it. It's
now baked and ready to go. We have all of our
baked maps over here. So what we'll be doing in next chapter is we will
start by diving into sub spainter and we're
actually going to create the final
textures for this asset. So let's go ahead and continue with this in our next chapter.
35. 35 Creating Our Stairs Part6: Okay, so we have arrived
inside of substance painter. Now, once again, I expect that you know the
basics of substance painter, so I will not go
over that too much. We are going to
just jump right in, file new and create
a brand new scene. Now, in our template, right now, we can just use the PBR metallic rough this template over here. For the file, you
want to go ahead and you want to navigate to your exports fromsy stairs
and grab the stairs low poly. Document resolution,
I like to texture in four K. Now the reason
I do that is one, it looks nice, but two, even though that we are going to use a special
shader inside of unreal engine that will make low resolution textures
look high resolution, I still need to be
able to see what I'm doing inside of
substance painter. So there is always this
balance to be had. Like I would not go in, or at least that's why I'm
not going in and literally texture this entire gianting
with one single texture. I might be able to do it, although it wouldn't look
amazing at that point. Like, that's a little
bit pushing it. But it would not look good at all when
I'm actually trying to, like, make my final textures because those need to look good. I like OpenGL normal format. I also baked in
OpenGL normP format. And then in the import
baked maps, just go art. Textures, assets stare one bakes and just select these
and press Okay. Awesome. By the way, if you want to bake inside of substance painter
instead of marmoset, you can just press
this little bred icon and you can go ahead and in
the high definition measures, you can open it up and
you can select your hiplyF the rest in here, you can literally just
playout with the cage, which I cannot show you
now because I don't have a hypol in here. You can set your
document resolution, but for RS it's pretty
much exactly the same as inside of Mam Set Tolbag. So you can also of course, feel watch a lot of
tutorials online for that. But anyway, I'm just
going to stick to Mm set. The first thing
that I need to do is I need to go ahead and I can just press delete on this layer one. I never need it. In the text set list, this is the name of
our files later on. So let's call this
stare under score 01. And in the text set settings,
this is the important one. Down here in your mesh maps, you want to go ahead and
select the normal map. The object space is
a world space map. Ambit seclusion and curvature. Remember how I said that I
wanted to bake a position map? I can simply go to
bake mesh Maps. Four k. And in this case, position map doesn't
really matter too much between
high and low poly. So I'm just going to press
use low pool meshes high ply and then only turn on my position map and
simply press Bake. There we go. Now we
have a position map, and it will
automatically assign. Awesome. So, as you can see now, we are ready to go. Now, the first thing
that I'm going to do is I'm going to go
ahead and create a folder. Call these base colors
or something like that. And we want to go to
File, Import resources, and guess which one we
are going to import. That is why our stone SPs AR file over here,
stonemaster SPsAR. And then what you
can do is you can go ahead and you can choose
where you want to import it. If you do in this
current project, it will only show
up in this project. If you do library, it will show up in every project you ever do. Now, I personally I am going
to use this one because it's for tutorial
and press Import. Now, another thing that I
want to do is file Save S. And let's go ahead and save
our file stair over here. Stare score 01 score paint. Spurs okay. Now, it shows
over here that we have an error failed to decode
substance resource. Huh. That probably means that
this is not working, is it? Yeah, it is not.
Okay, let me just quickly see what this promise because I've never
had it before. Okay, so I had a look. It's a little bit
annoying. It's a bug. Basically, because, of course, what I think that happened, I will let Adobe
know about this is that they recently updated substance with,
like, new features, and I think that
something just went wrong that they
did not test when building an SPSCR file using those new features and then trying to load it into
substance painter. So, unfortunately,
that's really awkward, like we cannot fix it. The only way that we can fix it, which is of course a
little bit more of an annoying way is to basically
use simple texture maps. So for that, what I
was planning to do is if we go ahead
and go in here, um, well, I want to quickly, have a quick check
in my wall material to see which texture
colors we used. But we're basically going to
just export these textures. So what I want to do is
I want to go export, and then I want to turn
off the automatic exports when outputs change over here. And then, basically what
I will do is I will simply export like
a few base colors. Our normals and roughness
and stuff like that, they can stay the same, because we aren't really
changing anything. The only thing that we
are really changing is the actual base color over here. So first of all, let's
just go ahead and see. Let's set up like
a base material just to get it ready to go. I for my base material, I want to have a base
color, normal roughness. I think I don't really
need an ambient seclusion. Just click and drag
to select all of them and set them
to be a texture, and then just import them
into this project over here. So not the best way,
but let's just go ahead and set up
a base material. We can do this by
going up here to fill layer and just call this
1 stone underscore. I'm just going to call 01. Stone underscore 01. It
doesn't need a height. It doesn't need a metallic map. I just needs a base color, a normal and the
roughness map over here like this and it
needs some tiling. Now, we can choose. So we can tile using our UVs. However, it might be better
to tile, in this case, using a triplanar projection, which means that it does
projection mapping. It is slower, but it allows us to hide our seams
a lot better and also gives us a little bit more
control over how we want to place these stones over here. So that's basically the
general gist of it. Now, I'm quite annoyed that I need to do this because
it just takes a while. Let's go ahead and let's
create a new folder. I'm just going to call it Clos, for example,
something like that. These ones I can
get rid of. Okay. So we are going to export, and basically, it's
just going to be like going into
your stone master. We can quickly go
into our presets. We wanted to open up our stone wall just to
very quickly check. Okay. Here we go. So that was the base. If I go in this one,
this one is blue. And all I want to do is
I just want to go down, click on the main
stone color and just copy this has over here and just white
it down in notepad. So I'm just going
to go to notepad. It's extremely slow. Butke. So that's blue. And then here we had like I'm just going to call
this one dark brown. Dark brown. And then
this one was going to be light brown. Light brown. Over here. And if we need to,
we can always, of course, export more texture maps, like if we will need to edit the norm maps or
something like that. But just like in designer, we can actually build upon our textures also here inside
of subs painter later on. So, there is some flexibility. Blue stone colors copy the
first hash, paste it in here. There we go. Update,
brown stone. Main color, hash, update, and light brown stone. And I'm going to
also, of course, manipulate these colors a
little bit inside of painter. So this is not like
the final colors. Like we also have notes and painted to kind
of bounce it out. It's basically just
like, This is actually, it's kind of good to show you because that
we have this bug, because, yes, it's
more annoying, but in a production environment, you cannot really stand still. You cannot just have like, Oh, this program has a bug, so I'm just going to
contact the people, and I'm going to wait. Like, it just doesn't
really work like that. So this is a good way to
just show you how to, like, fix Everything. I made a small mistake
where I accidentally exported it's in
the Wong folder, so let's just export once more. Now go in here and let's set this folder to the
colors folder. And now we go to
Bluestone Export. Let's make sure that it's in
colors folder and Export. And I'm just gonna rename the file name to blue for now just to make it
a little bit easier. So now we can go ahead and
go blue, brown export. Rename it to dark. Brown. And then here we
have light brown, export. So that's just like the old
school way of doing it. Light. Brown. There we go. Okay, that should
be fine for now. We just need something in
here so I can go in here. Import resources. Select them. Come on. Texture. Stare
done. Okay, cool. So we have stone zero, one. Now we need three more,
two, So 01, 020304. The only difference
is that one of them that we just change
the base color out. Brown and light brown. There we go. Okay, so we now have our different
base colors ready to go. That's already something.
Now, what we're going to do is first of all,
with different stones. I also probably want to just
rotate it a little bit and just give it some additional
interesting positions. Like over here, something
like that. Okay. Now you want to go
ahead and just select your stones and add a
black mask to all of them. And then we are going to select which stones become which color. We can do this super easy by going up here into our
polygon fill tool, set the field to elements
and just well, the side. So let's say this one, this one, maybe like this one, it's
going to be that color. This one's going to be blue,
blue, and maybe like blue. This one's going to be brown, brown brown and brown. And this one's
going to be light. Light and let's say light. And then let's make the final remaining two Stone number one. And there we go.
Now we instantly have already our different
stone colors in here. You can hold Shift and write
mouse button to kind of, like, rotate your sky around. I'm going to
probably after this, we are going to, like,
add a bunch of stuff. I'm probably finish this chapter off by making our scene
look a little bit nicer. So if you go ahead and just go up here to your
display settings, you can choose your
environment map. So we can choose
something that kind of fits more in our environment, maybe like something a
bit warmer over here. Because these are
just like different skies just like we use them inside of Unreal
engine or marmoset sorry. So this sky is pretty good. Maybe set the exposure
down a little bit. You can also turn on shadows, but you want to set
the opacity welow. But often it kind of
feels more like bugs, so I'm just going to go
ahead and turn it off. You have post processing effects where you can set
your tone mapping over here to sensometric. So this one is a little bit more like a realistic
tone mapping. Oh, wait, turn it on.
And this tonee mapping, as you can see here, if you just play around with
your gamma because we don't want to make it
too intense, there we go. That just looks a
little bit better. Turn on antialising just to make our edges look a
little bit more smooth. We can scroll down. And over here, we can show
if you want you can show the grid if you
like that type of, like, to see that stuff. So here let's do some grid.
And let's have a look. So, we don't really
need to do much in our texture over here. Yeah, so I would say
that that is about it. Like there's a bunch
of other stuff that we can do also with
color correction, but I like to always
go for, like, the raw scenes that I
can easily edit it. So here is our base. Let's go ahead and
save our scene, and let's continue
to next chapter where we will start
by manipulating this, adding a lot of dirt, adding leeches, just like a
bunch of stuff to improve this general texture and
make it much more realistic.
36. 36 Creating Our Stairs Part7: Okay, so we now have
our bases over here. And what we're going
to do is I want to go ahead and I want to keep
my substance designer, the stone wall graph open
over here because there's some stuff that I
want to kind of replicate inside of
substance painter, and I'm a little bit forgetful. So okay, a few things that I want to do is I
want to increase my norm map strength in here also for my norm map strength. I believe that there
is just go up here. Oh, no, wait, sorry, we
cannot do that this way. We will need to go up here and then we have our
norm map over here. Instead, because, of course, we have four textures
that are all like a different amount that's
always a little bit annoying. Instead, what I'm
going to do is in the latest versions
of substance painter, you are able to
create anchor points. If we just go ahead and
call this base cols and then create an anchor
point over here, we should be able to basically
create a fill layer. And in here, select normal and then go ahead
and go to anchor points and grab your base colors anchor
point reference material is normal and that
should stay fine. Now let's see here see. You can see an increase
in the norm map. Then if we go ahead and just
call this normal strength. And then probably
the easiest ways just to go from base
color to normal and simply use this slider
over here to change the opacity. So let's go ahead. And I will also set up like
a preview scene in a bit in Mama Set Tobag
because it's really difficult to properly see what we're doing inside
of subset painter. Since substance painter,
previewing is just not as good. So we got that one. Now, let's go ahead
and let's have a look. So we are using some
cutting here and there, but that is something
that we probably won't be spending too much time on. We are actually able to use multi direction
warps in here. I'm not sure if they
will look very good, to be honest, but we
are able to use them. You can, for
example, go up here, and if you just go
ahead and go to filter, there should be a
directional blur. Come on. Where are you? Warping mirror. I must be Wy blind. Here's the grim scans. All right, here
slope. Sorry, here we have a slope gray scale. And with the slope gray scale, if you just go ahead and so we can actually do this
in our height map. Now, the way that
this works is we can kind of choose if
we want to do it in a height map or in our norm map. When we do it in our height map, it should still translate
to be included in norm map. But I think because
we, of course, have turned off our height
in here, it will not work. Let's try to go for a no map. And if we go for Empress C, we can switch between
the different maps. I need to look at my
no map over here. Now what I need to do
is I need to go ahead and see over here, my intensity, set the mode to minimum in here, C. You can see that we can
break things up a little bit. Default noise. Yeah, I can do probably
default noise. If I just make the
source tiling a little bit, it sets to like two. And if I just like a very
soft intensity, 0.07. I'm sure if I'm not sure
if it looks better or not. It's a bit difficult
to see in painter. Let's Let's have a look. Mm. Without to be honest, I don't think it will actually I think it will add
more bad than good. Yeah, so for now, you know what? I'm not going to do that. I'm not going to go ahead
and just leave that stuff. But that's just part of it, also, like tying stuff out. So let's now leave
our shapes alone. And over here, as you can see, some of the things that
we did was that we added some sharpening and we added
like some general dirt, and we also added some
highlights and stuff like that. And that is another
thing that we can actually have quite
easily in here. If we go ahead and
create a folder, and let's just call this, dirt or grines doesn't really matter. Now, the first one
that I want to do is, first of all, we have our
base color over here. Let's go ahead and just
add a filter to that and let's set the filter
only to be actually, let's be our color and
our roughnes only. And let's set this filter out
a sharpen to this filter. So if you press a sharpen, you can add it over here. There we go, see. So we are actually able to add like
a sharpening filter. So if I just make this a
little bit stronger like 0.3, that adds, like a tiny bit. Now, I feel like that our colors are also
like way too intense, so that is something that we
will balance out in a bit. Let's first of all,
go to our dirt. And let's go ahead
and just grab one of our fill layers and
just call this like, um OCC uncor dirt, for example. And for this one,
what I want to do is I want to make
the color a little bit more like a green,
yellowish color. It's also quite a bit darker. I want to go ahead
and set my roughness quite low, something like that. See, this can probably be a little bit darker
even like this. We don't need a height. We don't need the normal, we
don't need the metallic. Next, what we want to do
is we just want to go ahead and add a
black master dis, and now we can scrap one of the many generators
over here for this. So this is going to
be more like dirt that's in the cavities
over everywhere. So let's try a dust
occlusion over here. Let me see. So let's see, we have dust oclusion
but we should have also another one that
might work a bit better. It's like, Oh, no, wait, occlusion strong is
probably not the best one. Yeah, okay, then
probably dust clusion is probably the
best one for now. There's a bunch of
them that you can use. So let's go ahead and
start with this one. I'm just going to
go ahead and dirt. I can increase my
levels to really show, like how intense it. Also, something that I do
notice then is that like, we can probably,
like, manipulate the base color a little bit. But first of all,
I want to just, like, tone down my contrast, and then I'm going to tone
down my balancing over here. So I am going to add quite a bit of dirt,
something like this. We can go into our
original over here. And if we just add,
like, a uh yeah, we can probably do
like a fill layer. We can add some
variation to our color. So if we go ahead and add a fill layer over here,
and in the color, we want to just
grab some kind of a texture which like a
B&W spot, for example. And we kind of want to set
is to be like a multiply. And then you can
see that over here, we can add some variation. Now we want to go ahead and
not make it too strong. And what we need to do is
we need to go back into our base color and also
balance things out a bit. So it's like quite
a bit of balancing and bells, this one. Yeah, I'll leave it like this,
but I will probably, like, tone down my opacity to still
make it a little bit less. But just like, it's subtle,
but it will actually, now it's not that
subtle, I would say, but it gives us some nice additional dirt and
stuff like that. The next one was going to be probably some, like,
edge highlights. I think those would be nice. Let's add another fill layer. It's called edge
highlights over here. Let's go ahead and only have a roughness that's a little bit shiny and let's have a normal or a base col
that's completely white. Once again, add the black mask. Now you can choose.
So we have over here these concrete edges or we
can just use a curvature. But I want to see if concrete
because this is concrete. I cannot see if there
are some kind of generator that might
look quite interesting. This one, if I get rid of
the concrete crunch and grab the mask
builder and kind of like let's see, tone that down. Also, over here, if we
go into our grunge, let's tone down the embitclusion
quite a bit because it adds a giant amount of
additional stuff. Okay. The curvature is pretty good, so that one reads quite well. We have over here
like our grinch map, which you can tone down. Play around a bit
more with our levels. Right now, it will look very stylized the way that
we have it right now. But if we grab this and now
if we add, for example, another fillet on top, we can use, like, a
grunge map to kind of, like, break up the shapes. So if we go ahead and go for let's see if we just
scroll down and just grab some kind of random crunch
map like grunge copreps, for example, set the tiling, maybe to three to make it
a bit smaller, maybe five. You can play around
to the balance a bit, but the most
important thing is to set this to be and multiply. And then you can see that now when I play around
to the balance, I can add more or less of these damages in here.
So we got that one. At this point, what I would do is in my base color selected, I'm going to just
simply tone down the opacity like this is just going to be like
some very soft highlights. But most of these highlights, they will be more in
like the roughness. So something like this. Okay, so we are starting to get a pretty decent base already. Now the next thing
that I'm going to do is I'm going to go ahead
and save my scene. And I want to start by
exporting this so that I can preview it inside
of Moms and Tool bag. So first of all, I want to go ahead and go to Taxis AssetTre and create a folder called final over here. And our file export. You can go ahead and
select this folder. PBR metallic roughness
for now is fine, but we are going to actually
change that up later on. But just for previewing
purposes is fine. Targa file and
just press Export. Cool. So that's now exported. So now what we can do is
if we go into Mm set, I will show you how to build a very quick preview
scene that we can use just to preview our
assets and stuff like that. So this will be the
main preview scene. I'm going to get started
by just importing my stair low poly so that I have something to
look at over here. And I will go over
this quite quickly. So first of all, let's go
ahead and right click. At a shadow catcher over here, which will just apply some
shadows. Let's go into render. Let's turn on rate racing. Let's turn on advanced
light sampling. Let's set the bounces to two. Few port 256 is probably fine. Set the denoise strength to 0.8. I'm going to because this is not a tutoril about Mamo set, so I'm not going to go over this too much local flex to two. But basically, these are just
like some settings just to improve our general rendering
and stuff like that. Now, the next thing
that we can do is we can go ahead and
go to our main camera. And actually, I like to
always have a preview camera. So what I can do is I
can go here and I can go ahead and right
click Ara camera, and it shoot the camera in the same view as
our main camera. So now we have this
preview camera. In this preview camera, we can go ahead and set the
tone mapping to be ACS, which is a more
realistic tone mapping. We can set our curves over here, and I always like to push, like, the first curve down a bit and the last curve
up a bit to, like, increase our um, contrast and stuff like
that a little bit more. And next, what you can do is you can also play around with your exposure and stuff
like that or your clarity. So my clarity, maybe
a little bit up to, like, 0.1, increase it. Also set your sharpening around the same level as your limit. The bloom a tiny bit just
until you see the tiny bit, and we have some vignetting,
which we can set half. Yeah, that's already starting
to look pretty cool, right? So that's just easy stuff. Now what we're going to do
is we are going to go into our sky and go into library, and you want to grab a sky that feels like
a little bit logical. So we are going to be for a bit more like
a natural type thing. So maybe like bamboo Grove. Like Bamboo Grove
is quite intense, but you can see, what it should give
us actually, yeah, it does give us see
a lot of options. It is quite intense, but
gives us a lot of options. The mode, I want
to set the color. And for the color, I'm
just going to go for a darker grayish color so that there's no distractions.
Now we have this stuff. Next, we want to go ahead
and place some lights. We can right click Add light, and let's add to
get started with a directional light that is coming a little bit more
from the site over here. And this will just
introduce a little bit of shadows and stuff like that. Like that. I'm going to go ahead and I'm going to
click on temperature. And in here, I can make my
temperature warmer or colder. And I'm probably going
to start with, like, around 4,300 over here, which is quite a neutral color. You can use your shape over
here to make your shadow softer or darker or
sorry, softer or sharper. I'm going to make them
like a little bit softer. Like this. Then the next
thing that I'm going to do is I'm just going to go
ahead and duplicate this light this light, I want to give it a
really intense light that comes maybe
just over the edges. Just like increase our render. This light is a little bit harder to see without textures. At this point, we probably
want to temporarily turn it off and start by
applying our textures. We can do this by creating a plus and then call this model. I hope things are not going
too fast for you guys. Right now, I'm really
going I'm not yet in the same speed as
when I would be creating stuff
without recording, but it is going quite fast. Occlusion over here. We have our base color. We have our well, we
don't need a metallic. We have our no map. Make sure that normal maps
from Substance Painter, they are exported in direct X. So make sure to
press flip Y to flip the green channel so that
it renders in open GL, because that's the only
difference between direct X and OpenGL,
the green channel. I'm also going to go in my
BGS and just grab my AO map, throw it in here, and throw this onto our
actual model over here. Now you can see that that's
definitely quite a difference going from our original. So you can see that
there is like a lot of change between these versions. So what I'm doing now is I'm just balancing things
out a little bit more. Over here, just to get started. And then we had another
light over here, which I'm going to temporarily make it really, really strong. Over here, I'm going to make the color for this one
a little bit whiter. So let's say 5,500. And now I'm going to tone
down my brightness scan. It's just for me to capture some of those glares
and stuff like that. Let's see for the first one, go to make that one also a little
bit darker and I'm just going to Like with assets, often, you will just, like, fill most of the space. It's not like with
materials where we can control how to
capture it and stuff. I'm going to set my Kelvin
a little bit more neutral. Let's see here, because
if I go like in white, you can see, that's
quite a difference. So for the main shot, I probably want to just use my clock picker over here just so that I have
a bit more control. So this is actually
the main shot, like the white shot without the really strong galvin
and stuff like that. So this one we can still keep at a decent level.
Let's see what else? So we have a camera over here. I'm going to go ahead and probably grab
my first light and actually move it down
a bit more like this. Um occlusion is working well. I think at this point,
we can probably save sing and start
some balancing. I'm just gonna go to my sky. I just want to make sure
that my sky brightness is fine. So bump. And I also just want to quickly try a few more skies
now that we have a texture because
it would be a shame if we happen to find
a really nice sky, but we don't end up using it. So cemetery Graves, city
hall corridors maybe. I also often like the
more yellowish ones, but I need to be a bit
careful with that. They're down here. Over here, the Portico driveways and
gate and stuff like that. But it looks like
that there is, like, a huge amount of difference. So yeah, okay, fair
enough. At least we tried. Why bridge waterfall, maybe? No. Oh, Wong button. No, Okay, fair
enough. In that case, let's go for the bamboo
grove over here. And maybe let's go into my
light and tone it down. Okay, so I think that
this feels fairly similar to what we need because it looks like a
little bit greenish. There's still a lot
of stuff that we do, you can see that the roughness
is just super plain again. But for now, let's go at a
file and save our scene, and we are going to go into our safe folder and just call this model
render over here. So we've done that.
Now, at this point, I am going to actually
make my sky color a little bit brighter.
There we go. And let's have a
look. So definitely like I'm missing some of the sharpness and
the roughness amount or the roughness effect. So if we just go
ahead and go in here, and first of all, we have
our edge highlights. How are those coming along? Yeah, I can see
them a little bit. I actually want to maybe even tone them down
like a tiny bit, so maybe, like, say, 13. We had our normal strength for which right now
it doesn't do much, but what I can remember
is that we basically grabbed our normal highlights
somewhere along here. Yeah, and we kind of map those. We map them using a HCRm scan
using a fine edge detect. Now, I'm not sure if we would
be able to do that in here, but we should be
able to basically grab a curvature from here. So if I just go ahead and
do another edge highlights. So just duplicate this one. And call this.
Normal highlights. And then if we go in here, let's go ahead and get
rid of this one. The first thing that we can
try, we can try a filter. And then in your filter, oh, I still have
sharpening turn on. In your filter, there
is, like, a curvature. Or we can use a high pass, but probably curvature is
better. Where are you? Slope bevel. I can't remember it wasn't here, but okay, if it isn't there's
many more ways to do it. Um, we can use our baked
curvature map and manipulate it. Maybe I think I'm
just confused by, like, a different
note, because, like, now I'm just warming up in substance painter
because we've been doing substance inner
for already hours. If I go curve, and is able to
grab the stair curve Jove. I can hold Alt click. Oh, nice. Yeah. Yeah, we can use this. If you Alt click on your mask, you can actually preview your
mask. So we have this one. And then if we just go ahead and you can alter filter
and doing hcrm scan, but we can also describe
the levels and try to, like, kind of do that. Then, of course, we have
those tick highlights. And for those, what we might
want to do is we might want to because we already
have our edge highlights here. We might want to
actually go ahead and probably delete this one. Now we have over here all
of the small highlights that already bring out
no map bit better. So if we just go in
here and now Alta fill, honestly, I don't know if
I like the grunge cop web. So I wonder if there's one
that's like a bit better. Maybe like crunch map zero, 13. You should be here.
There you are. Let's hold Alt click again. Let's set this mode to multiply. Let's set the tiling to like
five or something like that. And now here we can
use our balancing to basically increase or decrease. So that will give us some
additional highlights. Now, the next one, let's say
that we are going to go for, like, some roughness variation. If we just go and go press
C and go to roughness, right now, my roughness
feels quite dull, although I'm surprised
because it doesn't feel this dull as
it looks over here. So that is quite interesting. Also, my shadows are we intense, but I don't know if that's
Let's just tone that down. Let's see. So yeah, I want to bring out
some of that dullness. So if I go ahead and go
back into my painter scene, let's create a new fill
layer, call this roughness. Variation and only turn on the roughness for this and just like, tone it down a bit. And then just add
like a black mask and we can go ahead and go to our smut masks and maybe grab something like a surface worn or
something like that. If I could just go
ahead and just click AltclickO the mask,
I can now go in. Here, see it will just, like, add some more visual
interest around these areas. And let's make this a bit shinier because a lot of
people probably walk on it. So if I go back in here and set my roughness for this,
like, a little bit darker, I feel like that
would make more sense because when people walk
a lot on these stones, they just kind of start to polish themselves a little bit. So we now have
something like this. I definitely feel like it
looks better right now, funny enough in painter
than in mom's set, which should never be the case. So what I'm going to
do is I'm probably going to go ahead and see if I can balance out my mom's
set scene a little bit more. So I will because
it's a bit difficult, I'm going to move this
over to my other screen, and let's go ahead
and have a look. So First of all, let's turn off our
lights because I feel like our lights are
causing most of the problems. And then let's go
ahead and make my sky a little bit brighter. I think I still
don't like this sky. I think I'm going to
go ahead and try and find something a bit better. So sometimes it's
better to just balance out your scene using
just your sky first. That one is they're all
really dark, to be honest. This one is pretty
good, actually. Let's have a quick look and see because the city hall corridor
is often quite neutral, yeah, all of everything
is really dark. That's interesting. It might be just literally
awesome my exposure. If I go to my main
camera. Oh, no. Well, I mean, it makes it
does make a difference, but you know's push up my
exposure a little bit. Let's grab the sky that
I was talking about the Alley highway, highway. Let's move it here
and let's push the brightness a
little bit more to around like 1.4. Like this. Now let's go ahead
and grab Camera one. And for Light one, sorry. For Light one, what
I'm going to do is, I'm just going to go
ahead and first of all, tone down the brightness because this is supposed to
be like a supporting light, not like a light that
just changes everything. Yeah, I'm fine with the color. And Light two is fine because it just adds some
additional highlights. Okay, so this is already
a little bit better. I still feel like the colors
are not as well defined, but that might actually
be good because in here, of course, the colors are a
little bit too well defined. Anyway, we have this one. I'm just going to
go in my camera. I'm going to boost
up the sharpening a little bit more over here. And maybe also the clarity, let's set that one to 0.25. Clarity also adds
some sharpening, let's tone that down, and
let's end the chapter here. Yeah, I think that
should be fine. I'm just going to go
ahead and as always, for us to compare, let's go
ahead and create an image. Now, if you go to rendering, the first thing you
need to do this time because this is not
a pre setup scene is going to render
cameras and click on camera one and turn
off main camera. This way, it will only
render Camera one. I'm just going to call this
stare, make it a JPEG. Resolution can just be like four K or
something like that. Samples, I always
set quite high. So let's start with 512. Oh, sorry, I'm in the 11. Make sure that you
do this in images. Images, JPEC 512 and 0.8 for my denoise strength.
Yeah, that's looking fine. I'm going to go ahead and make a render because the renders
always look a bit different, and I will pass the video
until that is done. After that, what we will do is we will definitely
work on, like, adding leeches, going
a little bit away from those warmer tones to more like the colder tones like
we can have over here. And I'm also going to
add some overall, like, color variations to
all of the stones with some whitening and darkening and all
that kind of stuff, just to make it feel a
little bit less stylized, because right now it feels
a little bit too stylized. But we are getting there, and maybe also play around a
bit more with the normals. For now, here is our brick, which, yeah, it is
slowly getting there, but we definitely
need to work on, like, a few more things. So let's go ahead
and continue with that in our next chapter.
37. 37 Creating Our Stairs Part8: Okay, so let's go ahead
and continue on our mesh. So I want to do what we always do where I look at my mesh. I look at my reference. Of course, this reference,
it is quite different, but that is because it's really difficult to already balance everything to make it
look more like this. This is something
that would better happen inside of unreal engine. So it is something you kind of like me to have
patience with. Like, I'm first working on just getting out of
the elements in here. So I will go ahead
and make a list. So I want some
additional Sharpening. That would be like a nice one. Softer white. Sorry, softer edge. Highlights? Because right now, I feel like they are a
little bit too strong and it just doesn't really
make much sense to have them. I will do a slight color
balance. Over here. I want, like, some
micro normal noise, like micro normal noise. Because right now still
it feels quite flat. And I'm honestly really
surprised by how flat it is because, like, when we look
at our normal, our normal should
be pretty intense. Here, if we look at that.
That is quite surprising how I could go already in here and just quickly
push my norm map. If I just go double, maybe just really need
speak extra song. I want some additional leeches. The moss and everything we
will have in between here. But that's something that
we're going to work on a little bit later. So let's have a look. What else? I need some large
scale color variation, like, as you can see over here, you can see this large
scale color variation, it just happens across
many of the stones, so I want to kind
of, like, try and get something like
that in there also. And then maybe also,
make it a little bit, like directional and
stuff like that. Um and maybe some more. Let's do some more
like additional dirt. And I will see how I
will create a dirt. So let's go ahead
and start with this. So the sharpening is quite easy because over here we
already have a sharpening, and I'm just going
to go ahead and I'm going to push it a
little bit more. I think this one just
really needs quite a lot. So that's the point s five. Because when we start adding on top all of our additional
colors and everything, it will kind of like tone
down that sharpening again. So it's like a balance to get. Softer edge highlights is
also quite an easy one. So over here we have
our highlights. And I can simply
go ahead and add additional make this bigger, add an additional filter
that just has a blur on it. I'm going to make that
a little bit stronger. Then if I just go
into my base color because now that
they are softer, I do want to push them a
little bit out a bit more. Let's see. Yeah, I think, something like that will give
some nice softening, also. Tiling, tiling, tiling, tiling. So I feel like I just want
to kind of, like, see. If I just go ahead
and scale this down. I just want to know
if it looks better when I do like some
additional tiling. And also, if I want to
maybe not do like sideways, like for these ones, it
probably would be more logical. So let's make the tiding,
a little bit smaller, but it would be more
logical not to have all of the shapes
going sideways, which is something that
we did originally. But here, like yeah, it feels it's more
logical to have them straight in
these kind of pieces. Also, if you have these
pieces over here, what you can do is if
you just go ahead and, um, go to world space up here. Then I can also rotate
it this way, see? So now you can see
that the shapes kind go in both directions. I might actually also need
to do that on this one here. That's rotate it this way. There we go. Okay. So that's already starting to
work a bit better. This one is going see. This one, I guess,
is pretty good. I like this stuff over here. This is looking
really nice where we have that additional
cut in there. This one is, there we go. This one was also pretty much straight but not
straight on this level. So let's just rotate
it over here. There we go. That already feels a
little bit better. Okay, so that was the
additional sharpening. Edge highlights, we want to
do a slight color balancing. So for that, what we
can do is we can go ahead and this one, I guess, is fine. So let me just check why is
it so dark all of a sudden? Let's play around my wait because I wrote the describe it. Yeah, that one, although we should probably be able to also just check it out in here, because the overall colors, they are pretty similar. Let's add a filter to each one. And we want to add an HSL
filter, HSL perspective. If we now go ahead
and go over here, art filter, HSL, go
over here, art filter. HL. We used it in designer, it's really easy
to just add some additional I can make this
one, a little bit lighter. Maybe, like, match things
up a little bit better. This one I can, for example, slightly change the saturation to make it maybe
like a bit grimmer. And just like that, I can also change
saturation to make it, for example, a little bit more blue or We Willy
blue if I want to. Yeah, let's do
something like this. Like, I have it quite dim. I think that will look
nice, especially when we later on are going
to art our moss. So that's a slight
color balance. Now, some micronormal
detail. So we have dirt. Let's make another
folder called. Norms. And for the
miconormal detail, let's go ahead and just grab
a fill layer over here. Now, this norm web detail, we can actually place
into our height. We don't really need to
place it into our normal, so we can just select only
our height and push it up. Micro noise is what
we're going to call it. And then what we will
do is we will go ahead and add a
black mouse to this. And in this black
mouse we will add a fill layer because we're
just going to use some kind of grunge map to
basically create this micronormal type detail. There's often like
a bunch of, like, concrete looking grunges that
actually work quite well. It's micro noise, but you
kind of need to make sure. So let's do plaster
paint over here, and I want to go ahead and
want to set the I will do, like triplan and
mapping for this. Make it quite a bit smaller. Then I will go ahead and I
will also play around with my balance to not
have it everywhere. So that's like the base. I'm going to go ahead and
I'm going to already, tone down the intensity. Yeah, see, it's just
like some micro detail. It's often very simple. And then maybe add like a filter with, like, a sharpening. Let's see. Sharp
sharpen over here. To also push the sharpness of this noise a little bit more. Yeah. And it's just so
that from a distance, as you can see, we just
have something to look at. For now, I'm going to because this is one where I will most
likely need to like, Oh, wait, of course, it
doesn't automatic update. I will most likely need
to see it in action. You can also control your
height amount over here. I don't know why actually,
I don't know why I changed the opacity.
I should not do that. I should just control
the height here. I guess I was thinking
about the normp. You can also control
the direction. So over here, I can make it stand out and here
I can push in. So I'm going to set
this quite low. And then we'll just see how
this will look like later on. And in a bit, we will
probably also go ahead and actually start setting
up inside of Unreal engine, which is going to
be interesting. So leeches, I will leave until last for some large
scale color variation. So I can probably
do that in dirt, and I can go ahead and make
a folder called colors. And in here, I just
want to basically get like just some well, large scales, color variation. So we can most likely only
have this in the color, and then basically what we
want to do is we want to go ahead and start with
the black mask and start with a fill layer and grab stuff that is pretty directional
going downwards. So over here we
have our cop reps, for example, we just go
ahead and triplanar. Triplanar does make
your scene slower, by the way, keep that in mind. Yeah. So we have some triplanar, and what I can do
is I can start now with giving it a color. Let's say a color like this. I'm starting with
like a blue color. Maybe actually, you want to. Now, let's just do some
slightly blue darkening. Then go back into your
grudge map and just lower it down until it feels like
in a logical location. I don't like this
color. Let's see. You can also use your
color picker and you can pick something on the outside. So let's say discolor over here. It's like a slightly
brown purplish color. Yeah, okay, that works well. And if you want to
go ahead and, like, make some of the stones like that you don't have
some of the stones, you can always add a paint. And then in this
paint, you can go ahead in element select,
you can, for example, select like a few random stones that do not have anything. And you can set the paint
mode to not disable. Multiply. So I need to check because I always
forget which one this is. Because there should be.
There we go. Subtract. Oh, yeah, of course,
it is subtract. So yeah, we want
to go ahead and do subtract and you can see it now. It's not on every single stone. So just like that,
we have this one. We can go ahead and we
can grab this color, duplicate it, turn
off the paint, and this time, go away. Instead of cobrabs, we can
do, some type of leaking. And I can remember, like, here, maybe this one over here. It's like a pretty
leaky looking Brush. I'm going to rotate it because
I feel like, oh, wait, if I do that, then the leaking is really maybe not this one. I don't think this
one will work. Maybe something that's,
like, more dirty. And then if we just, like,
play around with the contrast, yeah, yeah, there we go. And, like, like, scale
it down a little bit. That should do the trick.
Okay, and then for this one, I'm going to just go
ahead and color picker, and I'm going to pick
something that's like a little bit more lighter. Let's see. This arts
like blue tones. But I just don't really feel like the blue tones are nice. Let's start like
some darker tones. There we go. Like
some darker tones. And this one, we can kind
of, like, have overall. So over here, like, it's
starting to already look slowly more realistic. I definitely am not
yet happy about, like, the marmoset scene, because I still feel
like that over here, the colors come out a lot better than in a marmoset scene, and I never really like
that for previewing. So what we can do is we can
simply later on, of course, have a look inside
of unreal agent, and then we know if
this scene is more accurate than the Mm set scene,
then we will balance it. But the Mum's set
scene is just for previewing it with some rate
raising and stuff like that. It's not really
physically accurate. Color variation. Done. The color variation,
incidentally also added some additional dirt. So the next one is going to be like some leeches
and stuff like that. So for the leeches, let's go and let's create
actually a custom folder. Leeches in here. I want to grab a like
let's make a fill layer, and let's make it
slightly yellowish. Let's make the roughness
quite low and turn off our shall we give the leeches a tiny bit of
height? That might be nice. Just give it like a
tiny bit of height. And then in this one, we are going to go ahead and
add a black mask, and luckily we had that leeches we already
had that one from here, so we can go to
add a fill layer. And then over here
we have this one. And what we can do is we can go ahead and set this again to triplanar place it around
somewhere like this. Maybe what I want to
do is I want to go ahead and I want to duplicate the effect and set this to
Max Lighten, I believe. It's more like this. And then the next
thing that we're going to do is in
our leeches folder. We can go ahead and go
in here and we can say, like, let's add a black mask. And in here, we can
literally paint in where that we want
to have our leeches. So we can go to
our brush section. We can grab a brush. I believe these
brushes over here, you guys don't have because
they're my custom ones. So let's say first soft white. It the flow a bit stronger. So now I can say,
like, Okay, I want some additional leeches
here. I can add that. I do feel like the
leeches are most of the time like sitting
here on the top, so oh, it was out of saving. And now I can also decide, like, okay, if I like a position
to have more leeches or not, L over here, I don't
really like this one, so I can just press X to invert my color and then
paint it out again. And I like to sometimes also just have the
leeches kind of, like, connected from 1
stone to another because it kind of feels
like it's like a network. Because it is organic material, so maybe it was just floating
and stuff like that. And I'm just going
to also balance them out a little
bit more later on. So over here we
have some leeches, and we do need to make
sure that we don't make it, like, too specific, because else when we actually start like scattering
the stones around, we might be able to see again, like Willy repetitive
patrons, which I don't want. So I don't know why I
have trouble speaking. What I will do is I will grab
these leeches over here. Maybe also place
a few over here. Let's say something like this. Now, next thing I'm
going to do is I'm going to grab these leeches
and I place them all the way at the bottom
because I want to have them below our dirt over here. I'm quite surprised
that it's so little. But yeah, Okay, makes sense. So now, since it's so little, I can actually increase
the amounts a little bit more because it looks like some of the dirt is kind
of like filtering it out. But I like the
subtle nature of it. So here we go here. Yeah. I do like
the subtle nature, but then again, I do feel
like it's not strong enough. Let's go. Okay, wait.
We can do this. There we go. I will like them on the Bluestones over
here. It looks really nice. So maybe also like art them
here. Yeah, that looks cool. Maybe also here if
something is cool, then we can just as
well replicate it. Yeah. Okay, cool. I'm going to probably tone them down just like a little bit. That should do the trick. Okay. I think that's
looking pretty interesting. Like, it's a pretty interesting
looking stone stair. So at this point, I feel
like we can already go and start setting
it up inside of in real just to see
what it looks like. However, that will actually be quite a few chapters because
we are going to then, of course, build our material, and I'm going to show
you the concept behind this entire or what a big
part of this story is about, which is like these
wy advanced materials that allow us to just push in a lot of detail without a lot of expense. So
it's really optimized. Go ahead and go in here. Now, yeah, here see
the difference, like I am not a fan of what it looks like inside
of Mamset compared to, like, painter, because
the painter version is definitely a lot better. So, I can even I
press Ira for fun. But, uh, yeah, even here. So definitely, that is something that I probably want to go ahead
and I'm going to first, have a look inside of Unreal, and then I will balance
everything based upon the unreal scene
so that we can, like, make sure that everything
is very similar across. But it is super normal
to have things looking very different between
painter Unreal and marmoset, just because there are three different
rendering softwares. They all render in, like,
a slightly different way. So it is something you
definitely need to keep in mind. But this is more like
the look I'm trying to go for as you can see, because it's a lot
more realistic looking than what we have in Mamaset. So I'm going to
go ahead and have a think about Mm set scene, and we will continue with
this in our next chapter.
38. 38 Creating Our Stairs Part9: Okay, so let's cut to you. As you can see,
my marmoset scene changed a little bit because
I worked on making it a little bit more similar to the scene in
Substance Painter. I did this very easily. I basically went to Substance Painter and went
over here to like my sky and I selected
the sky that I chose, which, as you can remember, is the Bonifacio Street. And I just right click
Show In Explorer. And this way because I can actually use this sky
inside of Mamoset. That was the biggest one. So if we now go
ahead and just go into Mm set and you click on Sky and you can see ION loaded it in, just go to image. Select or navigate
here and select the EXR file that you want. And after that,
it's just a matter of balancing out your
brightness a little bit. I just balance out
the strength of my lights just by moving
it up and down a bit. And for the rest, I just
went in my camera one, and in here, I also changed a few of these small settings. So I didn't really do a lot, but it does make
a big difference. So basically, here you can see the difference before, after. Of course, also with
our change added. But you can see that makes a massive difference
in what we had before. This looks really cartoony
and a bit more like student, while this one already feels
a little bit more logical, although the micro noise is
a little bit too strong. So that is one thing
that I do want to lower already just in case. So if we go to our
normals over here, and here we have a micro noise. I'm going to set the
intensity to maybe like 0.015 and press Enter. And let's go ahead and
save this and export this. Now let's say that
now at this point, we have a pretty
solid looking stair that we can start using. The next thing that
we want to do is we want to go ahead and
want to start importing this inside of Unreal engine and already start
by setting it up. Now in this chapter,
I will just handle the importing and
setting up the basics, and then what I will
do in the next chapter is we will start by the
actual material creation. So we will need to move back and forth a bit for this to work. Now, the first thing
that I'm going to do we exported our
texts over here. Let's go ahead and open up
unreal engine. Here we go. Here we are in unreal. As you can see, we have
these stairs over here. However, as you can
also see these stairs, they do need to have some
flexibility to them. That's what I want to focus on first on getting
the stairs in here. For this, we need to go ahead
and actually create our first proper three as
Maxine. Here we go. What we want to do is we
want to start by importing our low poli stair. So this is going to be
the scene from which we are always going to go ahead
and export everything. This stair should already
be in the right scaling. If we just go to the home
grid and set this to 1 meter. Yeah, here. So that is
already in the right scaling. So that's already
great. Now, what I'm going to do is I'm going to
go ahead and first of all, I have over here
my layer explorer, which you can find over here. And I'm going to select a row and call this
stare on the score, step on the score 01. I can now go select
the second row. Sir, underscore
step underscore 02. I accidentally places it into
the layer of the first row, so just drag it into empty
space to remove that. Then the last one Sree, step underscore 03 over here. So doing this, it will, we will now have three of
our stair steps that we can start placing in
various different ways. Now, what I do want
to do is I want to go ahead and for
these stair steps, I'm going to just simply place them into the center over here. So at this point,
we are sort of like breaking the positions of it. And I want to do that
for all of them, because Unreal engine, whenever we export a model, Unreal engine will always place the pivot point at the
very center of the world. So if we keep this
one in the sky, the pivot point would
basically be over here, which, as you can see, is
not easy for placement. That's why we, redo. Okay. I guess I already broke my Redo is really bad in trees max for
some reason, always. So anyway, there we go. So we are going to
place it like this. Now, there is another thing
that we need to think about, but we can do this most likely
inside of unreal engine. And that is that we also have
a short stair over here. But what I can do is I can
show you how to basically use the modeling tools to split up your models to create
additional variations. So having these pieces, the next thing that
you want to do is you want to go ahead
and select everything. Go up here to your layer
editor layer editor, to your material editor. Then what I'm going to do is I'm just going
to go ahead and call this Sir piece underscore 01 because
we only created one texture for now and
simply apply this material. Okay, cool. At this point, we can save our
scene, and we are going to go ahead
and call this scene. Let's call saves and I will probably do
this in a main save. I want to have all my models in this scene whenever I
export them to unreal. Let's just call this
asset creation, for example, and
just press safe. Once that is done, we
can go ahead and I created a EpotFolder that
is called to Unreal, and this is where I always
like to export all of my unreal related models. So knowing this folder, we can go ahead and
we can start by just selecting stair one
and turning the rest off. Export, Expot selection,
select the folder, and just call this Sir
Step on the score 01. And if you by this point, you can copy that name, save. And you can go ahead
and just press Okay. We shouldn't need to
change any settings. You can go in here, file
export Export Selection and call this stair step 02, save. And then we have the
last one export, export selection, Sir
step 03, and save. Okay, so now we have our
three FBXs we can now go to Unreal and we can start by properly
setting this up. So we have our JP
tutorial down here, and in here we have
an assets folder. Now I can just go ahead
and I can probably already just because we
don't have that many assets, place the stairs directly
into this core folder. I want to simply select my
three FBXs and drag them in. Now, when dragging them
in, make sure to turn on build Nanite because
we want to use nanite. And for the rest, we have our
Combine meshes over here, which is make sure you
have that turned on, and the rest is all default,
which should be fine. So we can just go ahead
and press Import. And then it will import
all of our stairs and turn on Nanite for
them ready to use. You can double check if Nante is turned on by clicking
on it and making sure that enable Nanite support is turned on. And now
we have our models. So we can also double check if the scaling is correct by
simply dragging it in. And when you look at
that, the scaling is looking totally fine. Awesome. Now the next thing that we need to do
is we need to go ahead and create a new folder
that we'll call textures. And in this folder,
I'm going to go ahead and create a folder called stare on the score 01.
Who would have tart? Then we go to textures, and I'm just navigating. And for our final
textures in here, now it's going to become
a little bit interesting. The reason it's
going to become a little bit interesting
is because we are only going to basically have a base color
and no map in our new shader. So the textures that
you have here are mostly for previewing
inside of Mamset, but they are not
actually going to be used for our unreal
engine scene. So instead, what I
will do is for now, I will go ahead and I will
already place my assets, and it's mostly just
to fill in time, since this is something
that we need to do anyway. But just to show you, then what we'll do is we
will probably focus on our actual master material
in the next chapter because it would be a
little bit confusing if I already start
with that now. So we have this one. What I like to do here and make sure
that it's on the ground, and I tend to simply
duplicate it, move it over here, and
then just drag in, for example, stair
step number two. Let's push it a little bit back. Once again, can go over here. Oh, wait, I need to
remember that actually, we need to push it
down a little bit. Remember how we move that out. So that's something that
is definitely important because else it will
clip over there. And what we can do now is we have four steps, but
we only create the three. Let's say that I will use
step zero, two for this one. Or and this one is
supposed to be step 03. And just like that,
you want to go, for example, one,
two, three, two, one, three, one, two, like that, just a nice order. But here we can see that this is already looking pretty cool. I can now go ahead
and I can go up here, but I rather just
start over than to already duplicate
because I want to make sure that they look as
different as possible. So I can go ahead
and go in here. And I can set like this one
as the starting position, which is around this point. And now at this point,
I can just go ahead and probably already
delete all of these. And we can just go ahead
and go place these, this one, let's say that I make this one step number three. This one, I will make
step number one. And then later on
we will, of course, also place something below it. So let's say step number two. Stepnometry. And that's
basically how we just add a bunch of
variation to everything. And then over here,
we have another one, one, two, three, four,
five, six. So we have one. I think then this one
needs to be a bit up two, three, four, five, and six. Let's see, step, step three. Let's make this step one. Maybe move forward a little bit. And of course, like
these back pieces, we can also adjust them. But that's why you're
looking pretty nice. I do know that the stairs
are a little bit blue, this because the default
material over here, for some reason, they
made it a bit blue. So if I just set it to be gray or you can apply our
default gray material, now you can see that that is
already a big improvement. Okay, so now what I want to show you just to
finish things off, is that over here we
have these stairs which are around yeah, pretty they are actually
exactly half of them. So with these stairs, what I can do is I can
basically go ahead and I can make some
small adjustments. So if I go ahead and have let's say these two stairs over here, and I will
need to do that. Actually, I will need
to do that for a few of them. So
let's go in here. Let's have a look. So stair step number
one is a little bit annoying because we have over
here like this long piece, which we cannot really use, stair step number two
and number three, exactly have like a
split down the middle. So that's pretty handy. So let's say that we have
let's see. Here we go. Let's do one, two, three, four, five, six, seven, eight, so that's eight variations
that we would already have. Oh, no, sorry, four variations that
we would already have. Now, if we go ahead and
go to our MlingTols basically what you
want to do is you want to go ahead and just
keep duplicating and call this stair
step underscore. Short underscore zero,
one, and press Okay. Go to this one, duplicate. Sir step underscore. Short on the score 02, stair step and score
short on the score 03. And Sir step On score. Short nscore 04. Okay, cool. Now, what you might have guessed now that these are
separate models. If we just quickly
navigate to them, you can see them over here
in the generate folder. I want to straightaway
throw these into my assets folder just so that I
do not get them lost. And it always adds like this random number near the
end, which I don't like. So I'm just going to go
ahead and I'm just going to right click rename and then just remove that end name to keep
things nice and organized. Cool. At that point, what we can do is, first
of all, right now, if we want to twine
and use the added ply, it will be one massive chunk. So we cannot really do that. Instead, what we want to do
is we want to go ahead and go down to our group
generate over here, GRP GEN, and you
want to go ahead and set the conversion mode to
be from connected Twist. What this will do is
it will basically create a group from
everything that's connected. And because all of our stones
are not connected together, we get all of our
individual stones. So we can go ahead and do
that for all of them from connected Twist Tris and Tris. Then now if we go to our
edit polio over here, we can select these
two and simply press Delete and accept. We can go to this one, select these three, delete, accept. Same over here. Select these
three, delete, accept. And here, select these
three, delete, accept. Now, last thing
that we need to do just to make the placement easier is to go to pivot and
set it to be at the bottom. And if we just go
ahead and do that. So that's a quick
way of basically altering our existing models. Of course, you want to do this
when you are sure that you don't want to make any
changes to the model anymore. So I do hope that is the case. But now these four
are ready to go. We could delete them here. Oh, we can go up here and I can go ahead
and I can simply now select these let's move
them down here into place. Just going to go ahead and delete the stairs so that I can properly see what I'm
doing. There we go. And now it's just a matter of, if I just go ahead
and quickly place this and just try and, like, follow my blockout. It might be a bit easier for
the shorter ones to do that. Now that you guys know how to
do the placement and stuff. Over here. Then delete
your block out pieces. And then that is
one, two, three, four, and then we can go two, for example, and
actually, that's the one. So, you can see this even
adds more variation. You could even use
these pieces if you want to have even more variation in
here to mix them up. So you can just keep going and going and going
as much as you want. I'm now going to go
ahead and on this side, just delete these
stairs, select these. A little trick if you
hold shift and just move, it will move with your camera. Of course, it's easier if you actually are sitting in front. That way, you can do,
even more egg replacement if you want,
something like this. And now we can go,
for example, here, where I will go
like four, three, two, one, two, four, for
example, something like that. And there we go. So all of our stairs are
now done and placed. We do need to create
a module like this, but I will go over that
a little bit later. So first of all, in
the next chapter, we are going to focus on
creating our master material. That's going to be
quite a large chapter. So just be prepared. And after that, I can show
you the entire concept, and then I will even show
you how to also create some moss which we will
generate on our stairs. So let's go ahead and continue with this
in our next chapter.
39. 39 Creating Our Asset Master Material Part1: Okay, so in the
next few chapters, what we're going to
do is we are going to create our master material. Now, our master material is actually going to be
quite complicated compared to other
materials that I've often made inside of tutorials. And honestly, the
best way for me to explain it is to just
show you my prototype. So if I go ahead and go
in here, I can show you. So here I just took like one
of the mega scans assets. And basically, this one is just like the default
megascan asset, and this is using
our master material. Now, on first glance, not much might seem different,
as you can see over here. However, would you believe
me if I said that this stair over here is a four K texture
or even eight K maybe? Not completely sure, four K
or eight K. This is eight K. This stair has an
eight K texture on it, while this stair over here
has a 512 texture on it. That's going to be the
power of this material. The power is going to be that
even with unique textures, we can push really high quality without actually making
much of the quality suffer. Then on top of that, we also
have options to add moss, dirt, and roughness variation. If I go really close, you can
see the concept behind it. You can see that the
base colors behind it, they are not actually that high resolution
because they're only 512. Now, on top of that,
we are using Nanite, so we have a really
high quality model. But the way that you can see this, when you go why up close, you can see that it still
feels high resolution, and it's almost like
a Wi advanced detail normal, but not completely. It's a detail normal that also works in our
roughness and it also works in our base color to add additional
details on top. And we do all of this using a special texture I forgot
what it was called. We do this via a special
texture array, sorry, array, that was the word, in
order to basically switch between these
different detail normals in a optimized fashion. This basically what we
are going to accomplish. We are going to accomplish
really high quality results while having to render
almost none of the textures. You can even you can
push this really far. I went from eight K
already to four K, but I could go in
my base color over here and I could set
this texture here. You can see that 512 is
really low resolution. Let's say that I go
to one to eight. I then go also into
my stair more normal, and I'm going to sit this
one also to one to eight. So this is like
incredibly small. We went from eight K all
the way to one to eight. But now if I go in
here, you can only now start to see a little bit of, like, the low resolution. From a distance, however,
it still feels fine. It's just when you go
like Wiley up clothes, now you can start to
see that the colors, they just become like
quite blurry colors, and we need to rely
a lot more on, like, these shapes. So
that's the difference. If I would go ahead
and would go for like 2048 because I only imported these
at 20:48 resolution. You can see that if I go 248, so I push the resolution, which I might want to do for
when I take screenshots, you can see that now, it becomes even a hyper
resolution version, like it feels really, really high resolution up
close and also far away. So that's the
difference between it. So let's go ahead and get
started by working on this. Now, the first thing
that we need to do is we need to
prepare some textures, and we also need to go ahead
and prepare our material. If we just go into
materials over here, we can right click and
create a brand new material, and let's just call this one asset nscorn master over here. And we can go ahead
and open this up. So for this, we need to end up with two very specific textures, a base color and a
norm map texture. In our base color, we
just need the base color, and then in the
Alpha, we need to add something which I
call a splice mask. It's basically a mask
that can allow us to I need to once again because Alza just
cannot explain it to you. It allows us to basically select which types of detail normals that we
want on our assets. This is great for when we
have assets that have, for example, both wood, and they have metal or they have multiple different
types of wood, because that way we
can say like, Okay, wood number one, use this detail normal
or detail texture. Wood number two, use
this detail texture. That's basically what
that mask is for. Of course, when we
work on our stones, we only need one color.
Let's go ahead and go back. Now next that we also
need a norm map, and our norm map is going
to be a bit interesting. So in our norm map, in the
red and green channels, we will have a norm map. In the blue channel,
we will have our AOMp because inside of Unreal Engine, you can actually divert the blue map from the red and the green channels to still
create a completed norm map. And in the Alpha, we
will have the roughness. So knowing all of that, let's go ahead and go and painter, and we are going to set
up our special export. So we have over
here our texture. And what I will do is
in our Texas folder, let's make a folder
called Unreal Engine just to make it a
bit easier because these textures are so specific. So what we can do is, oh, sorry, my keyboard
registration was not on. We can go ahead and we can
go to File Export textures, and we want to create a special output template that
we are going to use. I'm just going to
go ahead and call this one JP nscOeTil and that unscoe asset just
in case. There we go. Okay, so as I said,
our base cooler needs to be an RGB
plus A channel, so we click on RGB plus A, and we are going to go
ahead and remove this name. We will call this texture set, which is the name of our asset. So it's going to
be like stair 01. Because that's the name
of the texture set. Underscore base color. Now for this one in the RGB, we just can go ahead and we
can grab our base color, which is this one and just
place into the RGB channels. And in our Alpha channel, we want to have this slice mask. Now, we actually did not
create a slice mask yet. So what we are going
to do is for now, we are going to pick user zero, which is basically a custom map that we can go ahead and create. Later on, we can basically use user zero to create
our slice map. For now, however,
what is important is that our slice map
is going to be white. This is because we actually
do not have any type of we are not going to have any type of differences
in our detailed textures. So I'm still warming up with talking because it's
morning here again. Now we need our norm map. For our nor map, we need
all of the maps separately. So we want to do R
plus G plus B plus A. Once again, call it
texture set. Sc normal. And for our red and
green channels, we want to have just
like our normal map, so we can go ahead and
we can select our I believe it's better
if we select the normal here and not
a converted map. Yeah, because we apply our
normals here, I believe. So I should be able to go normal and then on the red channel, select the red channel. Make sure to select
the red channel. Then if we go ahead
and go over here, we can also select
the green channel. Red and green of our no map. Then in our blue channel, we want to have our
ambient occlusion map. For that, what we can
do is we can go ahead and I believe that we don't have the
ambient clusion in here, we have it in our mesh maps. We can grab this
ambient occlusion, and then we have our roughness, which is just going to
be our default roughness in here and just
select gray channel. Okay, so that's the
two maps that we need. Later, what we're
going to do is we are also going to
create another map, and I will do later on, which is going to be a mask map, which allows us to basically detect where we
want to have moss, where we want to have
additional dirt, where we want to have
roughness variation, all that kind of stuff. But for now, we are working more towards getting some
textures that we can use. I'm going to go ahead
and select my folder. I'm going to go
ahead and select, if you scroll all the way
down the JP tutorial asset in our output template, and it can just
be a target file, and we can just export at four k because we will lower
it inside of unreal. So for now, we can go ahead
and press Export and save. Now, if you just go
ahead and load up our Photoshop file over here, I can go ahead and I
can just drag these in because I need to make sure
that they work correctly. So here we have our norm map, and I just want to
make sure that the red channel and
the green channel. Okay, good. So they are
different. So that's fine. Then we have our blue channel. And then we have
our Opa channel, which is going to
be a roughness. That one is looking good and
here we have our base color. Oh, see? That's what I mean. Oh, wait. The reason we
have nothing is because, of course, we need to
create a user zero. So what you want to do
because you do need to create this because we need
to make it white for now, and I will show you, of course, later on how to edit it is we need to go to
our channels in our text set settings and just go to user channels,
user Channel zero. You can even go ahead and call this one slices call mask
just to keep it in mind. Now if we just go to our
layers at our very base, let's just go ahead and
create a fill layer and call this user channel. And I'm just going
to only activate the slice mask and make
sure that it is white. And that's all we need for now. Later on, we are
going to go ahead and edit this, and
then it will be fine. So that's safe. Let's
quickly just go inside of Photoshop
and double check. Yeah, because sometimes it just doesn't like
to add an Alpha. That's why I double check. Let's just make sure. So I'm using where
are you JP Toyo? This one, User Zero is a
grayscale that should be fine. I can try to see if maybe it's because the Targa file
has some problems, although that would be strange because the norm map
is looking fine. So I can try to export as a PNG, just to see if that
makes any difference. So let's do stair base color. No, it looks like that
that makes no difference. Let's go ahead and go back into painter and let's
just have a look. So our user channel, if we just go here
to our slice mask. Yeah, that seems totally fine. Like it's completely gray. Maybe move it in
the top, maybe it's causing some confusion in there. And else we need to have L because it's really
strange why it would not just register because we definitely have
user zero, right? JP Tatoy let's try again. Yeah. User zero. And gray channel is fine. Or you can just pick
the red channel, doesn't on wait, sorry, no, we want to pick
the gray channel. And over here, it
is set to be NG, but of course, we are
already overwriting that, so that should not
really matter. I will go ahead and just
remove all of my textures from my folder and try once more to hopefully make it
detected one last time. Let's try again. No, that is quite strange. It might just be because we
don't have any data in it. So for now, just
as like a cheat, press the plus sign to
create an Alpha and just press Control I to
invert your Alpha. And then just go ahead
and save your scene. Let's see if we now, close
it and open it up again. You see, now it is here. So it might just be that
for some reason, and I don't know why because
normally this never happens, that substance painter
just doesn't register. The slice mask for some reason, just because it's
like a plain color. But anyway, we now
have what we need. We can go to our
blockouts and what we want to do is we want to go to textures and our stare one. In here, we can simply
go ahead and we can import our base color
and our normal map. Once that is done, for now, I just want to quickly
open them up and double check that the compression
settings are correct. So this one is supposed
to just be like default. That's fine. And
SRGB is turned on. That's also fine. Later on, I will lower down the resolution of this to make it
more optimized, but for now, that
should be fine. And if we go ahead and
have a look at our stairs, so our stairs normal is
actually should be default. Make sure that it is
not set to normal map because we actually need a
default compression for this. And for RS, we do want
to turn off SRGB, because we are trying
to get gray scale data, and SRGB messes up
with our gray scales. And that's it. That's
all you need to do so we can go ahead and we can also
save our scene over here. Now what we can do
is we can go into our asset master
and actually select these two textures and
just drag them in here. That one is going
to be quite easy. So our two steps are now to organize all of the outputs
for these two textures so that we can use them
wherever we want and also to convert the RG channel of our no map to a proper
norm map channel, and that will be it for
this specific chapter. Now, remember how in
substance designer, we have the portal nodes
inside of UnwelEngine. We have something
simple, similar, sorry. That's called reroute over here, and it's called an
art reroute node. What you can do with this
node is you can plug in, for example, your SRGB in here. And you want to convert it to a named
re route, by the way. And then over here, you
can give us a color, but more importantly, a name. I will call this
base color. Texture. This is easy because this
way I can just, like, recall these notes, even
if my graph is like, really, really large
and stuff like that. Our graph will not be large, but it will be a
good way to work. So another re route. And by the way, actually,
I can just press this one, art named reroute
declaration note. It's just a more difficult name. Slice mask. And plug this one
into our alpha. And we can do the
same over here. So we need another re route. That's going to be
normal texture. Over here. Another rear route that's going to be AO texture. And that's when we
can already plug in. The normal texture, we
cannot yet plug in because we need to turn it
into proper normal. And the last rear route
is going to be roughness. Texture. And just go ahead and plug that into
the Alpha over here. Okay, awesome. So what we're
going to do now is we are going to work on our
normal reroute node. For this, what we need
to do is actually, we need to create a
material function. A material function is almost
like a graph inside of a graph to keep things more
organized, and that's it. And I believe that also can
use some special notes. So what I like to do
is in my materials, I'm I have my master materials
in here, which by the way, I should the asset master is supposed to be the
master material folder. And I'm going to make
another folder cd material. Functions just because we have
a few different functions. Now, in here, you can
just right click. You can go to material and
grab a material function and call this Rg score normal. So this material function, we can already drag
it in if you want. We can recall it in here, and then if we double click
on it, we can open it up. So we will be using
this multiple times. Now, first of all, what
we need is we need an input function over
here, so function input. And in this input, I'm
going to go ahead and call this input name no, actually. Yeah, yeah, normal. Map should be fine. I
want to make sure that the input type is a
vector t over here, which the tree just
said for RG and B. So vector three is
what we want to input. Next, what we're
going to do is we are going to create a mask. It's called the component mask. And what this will do
is it will basically extract from R vector three, the R and the G
channel over here. Now we need a constant Come on. Constant biased scale over here. And for this one, this note, I personally, I just
know what to enter. -0.5. I don't know exactly
what it does, because this technique, myself, I also just learned online
to quickly convert this. Once we've done that, there's one specific note that we need, but there is a slight
bug in this note. So we have Drive normal Z or the drive I
think it was this one. No, no, not that one. Sorry. Derive normal Z function
node over here. And basically, what this
one does is this is the actual function
that converts our R and G channels into our RGB channels into
like a proper normap. However, right
now, Tilma Milder, who is a good friend of mine and who created our lighting course, he helped me out with,
like, this material. Like he gave me
feedback on it and stuff like that,
because I myself, e Melson, I'm not nearly as
good in materials as he is. And he noted that this
material function has a slight issue where in
some certain situations, it creates a lighting bug. Now at the Oh hand, I could say, it
doesn't always happen, so we can just try it
out to use it and fix it if it becomes a problem,
or we can just fix it. It's super easy to fix. So if we just keep in
mind drive normal Z, and then we want to go in here
and in our engine content, if you don't have
your engine content, just go to settings and turn
on show engine content. In here, we should be able to find it, the actual function. So, what was it called? Arrive? Normal Z function over here. So what I'm going to do is I'm just going to go
ahead and I'm going to go to my material
function here, right click, track this to material functions
and press copy here, not move, but copy. And now this one over here, if you go ahead and close this, we can go ahead and
just rename this Drive normal Z function
underscore Fix. And then we can just go
ahead and open this up. So with this one, the
only thing that I need to do in order
to avoid any type of lighting or texture bugs is if I go after the
Derive normal Z, I just need to add a
saturate note to make sure that saturate note to make sure that the
texture that is being generated is saturated because else it will cause
those problems. So that's literally it. This is all that we need to do. So it's a really easy fix. But yeah, real still
has not fixed it. Now, having this done, if we now go to our RG normal, we can delete this
one, and instead, we can drag in this
one over here. Like that. And then it's very easy. We
can just go to X Y vector, and that we can input
into the result. And now, it should
be like a pretty normal normal, normal, normal. So if we go in here
and we drag the RGB, I believe, yes, the RGB, we can drag it in here,
I will split it up. It will add or it will generate the additional blue channel
which we are missing. And then it will spit it out into our normal
texture over here. So at this point, we
should be able to even if we just drag in the
base color in here, if we drag in the
norm map in here, if we drag in the embitclusion in here and the
roughness in here, it should just be like
a normal texture. So we should be
able to save this. And then we can go ahead and
just go into our master, right click and create
the material instance because we want to
use these instances. Stare on score zero, one. And just go ahead
and, of course, drag that into our material. So just to test it out, let's go ahead and can
I just, like, open, that's annoying that sometimes unreal doesn't realize
that I want to have this opening in a
different window, and it's twice added to
all of these windows. Basically, it's fine. Just go ahead and
select your stair 01 and just press this
little arrow button, and that will apply it. So if we go in
here, arrow button, close, and don't worry close does not mean that it
will not save your scene. I will save it. Oh, and we definitely need
to also turn this into a nanite asset now that I see it. So that's
another thing. So here you can see that
now we already have a base, and definitely one of
the things that we would want to do is balance out the colors later on because they are a
little bit too dark. By the way, as I said before, make sure that
Nanite is turned on. I think it is turned on
probably on these assets, but on the smaller
ones, because we, of course, generated those, you just want to
go ahead and click Enable Nanite and
press Apply changes. That's all you need to make sure that we are
not trying to render a hundreds of thousands
of polygons, like that. Okay, awesome. So as you can
see over here, you can see, like we have a micro normal detail and all that
kind of stuff, like everything should
be working fine. You can double check
by also going to ID, and we will do this quite
often where we just like, Well, paste color is fine,
but we can go in here. We can say, for example,
world normal to just make sure that the
normals are looking good. They are looking a little bit they might look a
little bit strange, but they are actually correct. It's just like the way
that it previews it. So not that one. I want
the roughness over here, and our roughness
is also in here. Awesome. So this is where
we will leave this chapter. In the next chapter, we
will actually go ahead and start by creating
the whole function, which applies all of those detailed textures on
top of our original texture. So let's go ahead and continue with this in our next chapter.
40. 40 Creating Our Asset Master Material Part2: Okay, so now that we have
our bases done over here, what we're going to do is we are now going to go ahead and create the actual system
that will allow us to give us our detailed
textures on top of this. Now before we start,
I, of course, want to give credit where
credit is due because I myself, am not smart enough to think
of this kind of stuff. So I just want to go ahead and
give credit to the team at Die who developed this technique mostly when they were working, I believe on Battlefield
one already. And also, yeah, Battlefield
one and other battlefields. And I also want to give
a special thanks to Tilma Milder who gave me guidance when creating
this technique and replicating it
inside of nalgene. So those guys are amazing. They did a really good job, and I'm basically just, like, benefiting off it and
developing the Shader. But hopefully, now
it will become a more widespread technique that more people can use when it
is being shown in a tutorial. Since I'm not sure there's any other tutorial where they really show this kind of stuff. Anyway, what I'm going to do is I'm just going to go
ahead and I'm going to just break my
links over here. Actually, I could have
just broken all of links. There we go. And we are
going to get started, yes, with our new material function. So if we just go ahead
and go into our blockout, and I will show you
material function, then I will also show you the
stuff that we need for it. So if you go material functions, right click animation animation. So I just worked on animation
before starting this. Right click material function. And I will call this slice. Organizer over here. Okay, so, open it up. Now, in our slice
organizer, basically, what we are going to do is we
are going to first of all, create a texture array, which has a very specific type of detailed texture that
we are going to use. We are going to create
some UVs that will basically organize
where the where the textures in the detexture
array need to go based on that slice mask that we have created over here that we are going to
create in the Alpha. Right now it will just be white, but later on we are, of course,
going to do some testing. And once that is done, we are
just going to go ahead and because the texture array
is again compressed, similar to our norm map, we will need to go
ahead and we will need to turn it into a
proper norm map, and we will also go ahead and apply it to our base
colors and our roughness. So probably what is easier
is if we first of all, go ahead and get
started by working on a texture array, sorry. So in textures, let's first
of all, create a new folder, and just call this
one array textures, for example,
something like this. Next thing that we
need to do is we also need to go ahead
and create a folder. So textures Array. Small textures over here. And so, basically, what we will have is we will
have a normal map. And in this norm map, in the R and G channel
will be the norm map, and in the B channel will be a very specific base color map. And that's where the key is in pushing the quality
of this even more. So knowing this, the first
thing that we would need to do is we need to go to text.com and fight the
good norm map because, yes, you can create all
of them yourselves, but it's easier for us right
now to just quickly get one. So if you just go ahead
and go over here. Okay. Now, basically
what we need so we need a no map and
a base color map that are highly repetitive. Like we can repeat it over and over again
without much effort. Now, when doing this, of course, have a t. This one, it's
going to be concrete. So yes, we need,
like a few of them. F now what I will do is I
will create only two of them. And the reason I want
to do that, actually, two, let's see, concrete wood. Let's do three. Let's
do three of them. So concrete wood
and metal already. And then later on we
can make more of them. That's the nice thing
about this, literally, we can make up to 255
of these textures. Of course, you would
never need this much. But just to show you your
power, we are able to do that. Although when we get in
high numbers like that, it will become very
difficult to organize. But basically, if we go
ahead and just have a look, so let me just
bring up my folder. Over here. The first
one is concrete. So I want something that's
quite repetitive concrete. And also have a think about what type of
concrete we have. We have quite rough concrete. This one would really work because it has
little stones in it. But you can just have a
think about what type of concrete do we have
and what would work. Remember, it has to tie it will tie like 20 times
or something like that. So it's going to be
very, very small. So that's something
to just keep in mind. Maybe something like this
one looks quite good. Now, once you're happy with it, what you can do is you can go
ahead and get the credits. For these pieces, we do not
need more than Honestly, we can even get away with two, five, six, but for now, because I always like
to go work quite high, we can go ahead and we can
just go up here to the 1024, and we need a base color, and we need a norm map for it. Let's go ahead and
just drag those into our ray textures folder. Next, what we need is we
need something that has, like, wood and something
that's more like metal. If we just go all
the way down here, here we go to wood. So something that
is quite this one might actually work really well. If you just go
ahead and preview. Yeah, this one might work
really well for wood, but I want to make sure
because, of course, the wood, this is one that we are
going to be using a lot. This one I can't really deal. Like, we need factors
of one by one. So by the power of two, basically, which means that we cannot have these
really thin textures. Of course, we could turn those thin textures
into bigger textures, but that's not really
useful right now. So serving in extra looks.
So those are barks. Yes, we could use the
bark also for our trees. However, for our trees,
I'm going to be a little bit more flexible since
it's not the focus point. This one, we might
like later on, we will most likely
have two types of wood. For now, I will grab this one, but just keep that in mind. I'm also going to go ahead
and actually organize this. So concrete underscore 01. Wow, square 01. And I'm already doing this in
case you guys also want to have a really large project, then it's better to
organize and metal. Oh. Square 01. Okay. So gonna grab our wood. And I wood no, Ma. The next one is going to be some metal rust. Of course, because right
here we are sitting in the scan materials. We might want to go ahead and
go to the PBR materials for metal because metal is not something that
you can really scan. Here you can see that now this
looks a little bit better. We just want something
that is quite fine metal. Maybe something like this
will work quite well. I'm just having an
extra look around. This one does have some bumps, but those bumps might actually
become really repetitive. Yeah, let's do What was it? This one. Yeah,
let's do this one. So 1024? Oh, need to navigate
to the height folder. And 1024. Okay, let's keep it
with this for now. Now, next thing that
you want to do is you want to go ahead and
go to Photoshop, and you want to go in and
import your norm map. Those are the ones
that you want to input first. Over here. And also over here. Okay. Now, once
you've done that, you are going to go
ahead and go inboard your base column map over here. And what you want to do is you just want to pres Condole A, Control C. Then you want to
go ahead and just turn off your base color and
click on your base normal. Go to your blue channel. And this is how you
can kind of also see how we are able to convert our red and green channel to non map channel because almost all the information is
in the red and green. But okay, in the blue channel, you're going to press
Contra V to paste it. Now comes something
super important. What you need to
do is you need to go ahead and over here, you have your histogram scan. You should be able
to also, actually, if you go to file
adjustments and levels, in here,
you cannot see it. Depending on which
Photoshop version you use, you should be able to also
see it like different areas. Basically just try to
get the Scrum scan. If you are not sure, and you want to set
this to luminosity, if you are not sure
how to get it, I recommend simply
going on Google and typing in getting
the Hcrum scan. What we want to do is we
want to make sure that the medium level is at
one to eight, basically. So here you can
see one, two, two, three, four, five, six, seven, eight, over here, which is basically the
perfect grayscale value. You can go one to seven, but try to get as close as
possible to one to eight. The reason we need to do that
is because we need to have this base color as
a perfect gray. If we do not make
it a perfect gray, it will actually start to affect the lightness of
our main texture. Because if we make it darker, since we are overlaying
this on top of it, if it is darker, the main texture will
also become darker. If it's brighter, the main
texture will become brighter. So that's why it's really
important to make sure that the medium is at one to eight, and then you can
just press Okay. And at this point,
this is what you get. So it looks a bit freaky, but this is exactly
what we want. We're going to go ahead
and file, save as copy. And you can go
ahead and save it. These ones, we can just
save it as a Tager file. And let's just call this
concrete unscoe 01. Underscore. I'm just going to call it array. I don't want to call
it normal because Unreal engine might detect
it as a normal map, and then we need to, like,
change some settings again. So just do this. Okay.
And now you guess it, we can just go ahead and
do the same over here. So we grab our base color, Contra A, Contra C, click on Normap in the
blue channel, Contra V, and then we can just go ahead and file adjustments levels. And most time you can also
push these if you want, but most time I'm misusing the center if it's quite close, so one, two, eight. There we go. This one was already
really close to it. And then just double
check to make sure that your norm map
looks a little bit greenish. Save as copy. Uh
for some reason, it doesn't allow
me to do TagaFi. Let's go to image and mode and make sure that the
mode is set to eight bits. We do not need 16 bits, and else it doesn't allow
me to select the TagaFi. And this one was going to be
metal 01 score. All right. Sorry if sometimes my audio
changes when I'm typing, it's because my microphone is in a position that I
need to move away from my microphone
to properly type. Since, else, I might make a
lot of spelling mistakes. That's why. Just some behind
the scenes for you guys. Microphone is actually
obscuring like half of my view. Let's do the wood, turn off, throw it into the blue channel. This one needs to be
pushed quite a bit. So levels. And if you want, you can also by this point, if you want to push
them a bit faster, you can move your white slider because we need to go
to one, two, eight. A medium, one to
eight still. Okay. And now this one is also good. Awesome. So we got our three first array
textures ready to go. Now, once again, Image, mode, eight bits, file, save a copy, and eight
bits also once again, like it's another atomization, eight bits is cheaper
than 16 bits, as far as I can remember. There we go. Awesome. So we have now prepared the textures. Now comes the
interesting part where we are going to set them all up. So first of all, just
go ahead and just drag in these three textures. And later on you can, of course, replicate this with
more textures. Over here. And then
the next thing that I'm going to do is I'm going to go ahead
and just open them up. And I want to double check that their settings are correct. So default, that is correct. SRGB can stay on in
this specific case because we are
going to manipulate the base color and technically
Bar using a norm map. Default, SRGB default SRGB. Yeah, that looks all fine. Okay, very cool. Now, what we're going to do
is we are going to now create our array slice, whatever
you want to call it. We can go ahead and do
this inner texture, so we want to right click. Want to go to texture, and we want to have a texture
to the array over here. And I'm going to call this
slice normals, for example. At this point, what
you want to do is you just want to
simply open it up. And now in this texture, the first thing that we need
to do is we need to decide how many textures
that we will place in here because that affects how we are going to
create our slice. Because, of course, at one
point in our slice map, what will happen is that
we need to, of course, select all of these
slices, and for that, we need to say how
many slices there are. So this is actually
really important. Now, the default that I always do is I always go
ahead and go for eight textures because you
can always add more or less. And I feel like
eight is often like a nice value for when we
work on an environment. So you can go to your
source text over here. And you want to
go ahead, and you want to double checking, are my settings correct default. Oh, turn off SRGB. Although most likely the SRGB, it's annoying because
for some reason, it always gets turned on by
default if I change anything. But okay, so we have
one, two, three. Remember, when I say
eight, zero is counted. So you want to go
to seven, actually. Here, one, two, three, four, five, six, seven, eight,
because zero is counted. Now, then you want to go ahead and you want to simply drag in here are your
concrete metal wood. And what I tend to
do for these ones, if I don't have anything, I tend to pick like the most neutral one just in
case I ever make a mistake, which is going to be like
the metal one over here. So that one will just
be added. There we go. And as soon as you
drag all of them, you can now see the slice masks. Now, as you can see, these look like slices,
but don't worry. They are full textures. So it just looks like this. And remember how I said
about the SRGB, see? So I need to turn it off, and I need to go at the press save. So now this one is ready to go, so we can start using it. If we go ahead and
already drag it into our slice organizer node over here because this is kind of like the
main note that we need. The first thing
that we need to do is we need to go
ahead and we need to define where we want
to place these slices. We do that using our
slice mask over here. Remember how slice mask, we made it simply a u we made
it simply a white texture. However, because we
have eight textures, we simply want to have
0-1 our gray scales. So from white to black, we want to grab exactly
like divided by eight. It is something I will
show you in a bit. But basically, because we need substance painted for that, for now, let's set
up our system, and then we can test
everything out. So okay, we have a
slice mask over here. I honestly don't even
need to expose this. What I need to do is
I need to first of all input so function input because this is going to
be a material function, so we want to go
ahead and have it in here and input stuff into it. I'm going to input this, and
I'm going to call this one. Slice mask over here. Now, next to that,
I also want to set the input time to be a scalar. This is going to be that Alpha
that I was talking about. So it's going to
read everything. Next, what I need to do is
I need to add a power node. And the reason I need to do
this is because whenever we pack a Alpha map. Whenever we pack something into our Alpha map, for some reason, whenever null engine
compresses it, it very slightly alters
the grayscale values. And because grayscale values
are so sensitive for us because we are using
the grayscales to basically select stuff, we need to compensate
for that error, and we do that simply by setting this one to 0.8 like this. Now once that is done, we can go ahead and we can multiply, and we want to multiply this by the amount of
slices that we have. So that's going to be
eight slices over here. This is basically like I can't explain exactly how it works because I'm just
not that technical, but it's just a way of selecting the different slices that
are going to be in our UVs. Next, we want to
have a round node. This is basically to
make sure that it's one, two or zero, one, two, three, four, five, 67 and not like 0.9 9999 or something like that. Like, it will just round it off. And at this point, we just are going to control our
actual textures. So that's very basic. We want to texture
coordinate node over here, and we want to have a let's do a a click to create
a scale parameter. A array tiling over here. And the default, I'm going to probably set something like
five to get started with. So this will basically
control how much we want to tie the
texts in here. We ultimate simple multiply. So this is just to make sure that this one gets multiplied so that
it starts tiling. And then what you
want to do is want append over here, append factor. We want to append these
two together to make sure that after we tie it, it will do the masking, which we are inputting into it, and it will mask it out on UVs. So basically, it will just
go ahead and it will yeah, based on the locations
that we request, it will divide our
slices by eight, and then it will mask it out depending on the gray scale
that we enter over here, and we throw that into our UV. That's basically what this
system over here does. Now, at this point, we are almost at 20 minutes. What I will do is I will just go ahead and probably
leave it here. And in the next chapter,
what we're going to do is we are just
going to go ahead and start by splitting
this texture up into normal base color and
also even into roughness. And then we can go ahead
and just apply everything, and then we can do some testing. So let's go ahead and continue with this
in our next chapter.
41. 41 Creating Our Asset Master Material Part3: Okay, so let's go
ahead and continue. So first and easy one is that we are going
to go ahead and just convert these RG channels
into a normal normal channel. For that, what we can do
is we can go ahead and we can steal over here, this RG normal node that
we already used before, slice organizer and
just drag it in here. That's an easy one. Now I want to go ahead and I
want to break this up into into into the
separate RG and B, and we do that so that
we can properly control the norm map strength
because right now, since we are converting
a non existing channel, we cannot just, like, do
an easy nor map strength. We need to, like, do
a little workout. So we want to have a break
out float three components, so R GMB over here. So now basically we are
turning it into a normal map, and then we are
splitting it up again. Now at this point, we
want to go ahead and want to append vector. We want to append
the RNG channel because those are still the
correct norm map channels. And all we need to
do now is we need to do the classic multiply, and we need to do
a simple multiply it using a scalar parameter. So as click Deto
normal strength. So this will just control D
on normal strength over here. Now what we need to do is now we can just combine them all back together
again, using a pen. Let's just combine the RG and
B channels back together. The next thing that we
need to do is now we need to blend this using our
unique normal because, of course, we have
a unique normal. This is called normal texture. We need to go ahead
and we need to do probably I will probably
want to keep the inputs here. Let's do an input function, and this one is going
to be um unique normal. Let's call it unique
normal over here. And yeah, vector three,
that's all fine. Okay? So we drag this in here. And then what we want to
do is we want to grab a classic blend angle
corrected normals, which is the node, let's hold control and move
it into the bottom one. This is basically the node that inside the
substance design, this would be like
normal combined node. It just combines to norm maps. So we plug these two in here. And now at this point, we need, of course, also an output. So I'm just going to go ahead
and do it output Alright, I can just do No, no, not out. Output, and we want to have
a function output over here. And we are going
to call this one. Well, just normal. Normals is fine. And
just plug it in here. So basically, once we are
using our material function, it will just output din map, which we can then plug into
our main node over here. Okay, so we have that one done. Now let's go ahead and now let's get started by
probably generating our base color for which we will need this output over here. So our base color, it's all in our blue channel. Now, remember, once again, we need to have a power
node and we need to plug in our blue channel into
this power and power it by 0.8 because there is this compression
error where it slightly alters the
grayscale values. And then what we need to do
is we need to also input our base color so that
you input function input. Let's call this
unique base color. So this will be like our
unique base color texture. Factor three is fine.
And super easy, all we need to do is we
just need to do a blend. Overlay over here. We are simply going
to overlay them because they are
perfectly grayscale, this one goes here,
this one goes here. Because they are
perfectly grayscale, this will simply give us a microdtail overlay without actually altering
any of the colors, but you will be able to just
see the slide details in it that I showed you
before in that example. Now, next thing that
we need is we need to also grab some notes
from this function. Let's probably use a
reroute node that's easier. Art named reroute and
call this AO modulation. Oh. So basically, this is
where the power comes in. Instead of just applying
a detail normal, which many people
probably know is a classic technique
to make stuff look high resolution up close, we are applying a detail normal, a base color detail, a AO detail, and a roughness detail all
from one single map. And that's just amazing to me. But we can plug this
into our AO modulation. Now what we need
to so we also need a roughness modulation for
that because it's a roughness, we want to invert
our node over here. So one minus to
invert your note. And then you just want to
have another re route. So this is going to be
roughness modulation. And later on we will have
a lot more additional ways to control our roughness
outputs and stuff like that. So we now have these
notes over here, and this one I'm just
going to call base color. You know, output. So that
is all looking good. Now, let's go ahead and
get started with our, let's get started with our
roughness and the rest. So we need an input
function for our roughness. And the roughness
one needs to be a scalar because it's just
like a flat gray car texture. We need another input
input function for our AO. Once again, scaler,
because just like a gray scale, and
we got a normal. Okay. Roughness one super easy. Just go ahead and do
a reroute Oh, sorry, go up here and use the
roughness re route over here and also right click re route and the AO modulation
can be down here. See? So that just avoids
me needing to go all the way down here because I like
to keep things organized. And this one is once
again a very simple blend overlay where we are blending our roughness in the base with our AO modulation. And we can go ahead and
we can throw this into an output function over here. And I'm going to call
this one Gagness. So now we are just basically
combining all of the stuff. That's it. So here we have our
ambit seclusion. The emit seclusion is
often way too strong. So if we just do a Power node, since we are, of course, it's like a fake
ambit seclusion. So let's set the
power node to 0.5. And that's what just
give us a little bit more of a balance because this is not a real
ambit seclusion. It's a base color, so
we need to make it. A bit different. And then we are going to
just multiply it. So that's just a value
that me and Tillman, we worked out that this would
be the best value for it. So if we just go ahead
and then plug this one together to multiply our
AOs, just like normal. And once again, we can
go all the way up here. Output, function
and call it. A O. Okay, so I hope that it
was not too difficult. This is definitely the most
difficult part to understand. Also, what is quite annoying
right now is that we need to do the testing and the
testing is super sensitive. So that's something that we
will be working on also. For now, let's go
ahead and save Ain and this should be done. Let's see, base
color, AO, roughness, normal with normal strength, UVs, and the blend.
Okay, perfect. So that's all good. Now if we just go
ahead and we can go back into our asset master. We can drag in this material
function over here. So let's go ahead and
just move this over here. And we need in our
unique normal, we need our normal texture. Unique base color,
base color texture. Roughness, and like
how I just ignored my naming conventions after a while, it's going
to be roughness. Rail route AO, it's
going to be AO. And now the slice mask
slice mask over here. So what we're going to do
is we're first going to see if this even works properly. There are still a
bunch of stuff that we also are going to
art on top of this. But for now, we should be able to and by the way, if
you have this problem, like base coolor AO, roughness normal, I don't
like that organization. I can go in here and I
can set the priority here 0-1 to two to three. And this way, if I now save it, it should automatically
update here, base color, normal,
roughness AO. That feels a bit more natural. So base color normal roughness
and ambient occlusion. And let's go ahead
and save Racine. Okay, so now we should
already see a change. If I just go ahead and go near. One thing that I do want to
do is my texture right now, it is a little bit too dark, which makes it hard for me to
basically see many things. So first of all, I'm going
to move this into the sun. If we move up close, Okay, it looks like that I still need to make some changes to it. If I just go ahead and go to my Sir one, let's have a look. Array tiling and died
on normal strength. I just want to make sure
that it is working. And then I will go ahead and
just make some adjustments. If I just set my diet normal
strength hi to like ten. Okay, so it is working. And if I now go ahead to set my tiling, Okay,
so it is working. So ten is definitely too strong. Let's say two. And my
ray tiling, let's say, like ten see, one, two, three, four, five. Right now, it is most
likely selecting the metal. And that's why it is
really difficult to see on concrete because the
metal is super subtle. So I would say that
at this point, yes, we probably want to go
ahead and get started by organizing it and
selecting our correct colors. So if we go ahead
and go to Vote Shop, I have this texture
for you guys. So this texture,
basically what it has, it has already the correct
gradients over here. Now, the way that
this works is that we have eight array textures. So we basically need eight gradients in order to select it. One, two, three, four, five, six, seven, eight. Basically, the way that I made this texture is this texture, is just for our reference. It's just like to do
color picking on it. If I go ahead and
go to, for example, file and create a new texture, because this texture is
only for color picking, we do not need ten, 24,
something like that. We can just make sure
that the width is 800, which means that we
have 100 pixels per gray scale and the height, you can
make whatever you want. I can make it like 400
or something like that. I already forgot
what I did here. Image size. Oh, Okay, 256. I guess that is cleaner. I guess past a meal did it a bit cleaner with 256 because that's probably like
force or habit. Now at this point, what we first want to do is we
want to go over here to our gradient and
just make sure that your gradient is set to
black to white over here. And what you want to
do is you want to go ahead and just
click, for example, over here exactly on the line or at least
as close as possible. You can hold Shift to move it straight and then
set our cursor on the other line so that
we have basically one nice gradient going from black all the way
to white over here. Now, once that is done,
we can go ahead and well, we can probably just
select everything and merge the layers down until we have a
solid option over here. Now I'm going to
use these rulers. If you don't have them,
you can go to Window and Oh, God, where are you? They changed it again, so
that's a little bit awkward. There is a rulers stuff
in here to get it, but they unfortunately
changed it. So I'm not exactly
sure where it is. But let me just say because most people where
they have this by default, you just need these rules
that you can basically go in here and you can click and hold and you can make exactly by holding
Shift, you can snap. You can make lines
exactly like the 100. You can see here I'm
holding Shift to snap 200. 300 400. And the reason I'm
showing you this is because some people might
have more or less textures. So you want to give this as
many textures as you want. 600 and then 700
over here like this. Now at this point, right now,
we still have gradients. So we basically need to
split this gradient up into eight averaged gradients
over here. Oh, God. We can do this by going over here to our
select and now we can easily select this
panel over here. And then we can go to
filter, blur and average. And what that will do is
it will basically blur it so much until it becomes
an average color. And at that point, you can
just go to filter and average. So here you can see
filter average, see, that it will just like, create the correct color that is an average between
all of these values. And that's the color
that we need. So filter, average filter average. That's basically now we
have the colos that we need to pick in order
to select what we want. So if we go ahead and just
finish this off, there we go. So that's basically how you
create a texture like this. I, of course, already have one, but just so you know, these textures over here, I
can go ahead and just close. And the first thing
that I want to do is so the concrete is
the most visible one. So for testing purposes,
with concrete, the one thing that I do
always forget is so I assume that our array
God, where are you? Over here our array, zero
is most likely black, and seven is most likely white. So that's why we had
metal right now. I guess really easy way to test this by simply going to
our concrete over here, slice normals and
apply this at number seven and make sure to turn
off SRGB again and save. And then it shoot,
there we go, see? And now it updates. So yeah, zero is black, seven is white. So what we're going to do is instead of doing this because that's not the right
way of doing it, yeah, let's go ahead
and go over here. We can go ahead and if you want, we can already go and paint her and just make my slice
mask black for now. Now, Uh huh. There is a bug. I'm not able to. 1 second.
Let me restart Painter. Okay, so we are back. That
was a very strange problem. I literally had to restart
my entire PCF to work, but I'm able to
move around again. So sorry about
that interruption. Okay, basically, user
channels over here. Now, with these user
channels, if you want, we can already, like,
kind of set up a system. But for now, since we only have three textures, let's
just try and do that. If we go ahead and
create a folder, and this is like a folder that we can later on just turn off. Let's call this um
Array selection. Then over here we have this one. This one is going to
be called concrete. Like this. Then we can go ahead
and duplicate it, and this one will be wood. And then if we duplicate again, this one will be metal. Over here. Later on, we can actually right click
and we can use this as a smart material for
our other assets. Concrete is simple, because
that one is simply black. Now, we have our wood, so our wood would be
like the second one in line for which if I go ahead and just go in and pick up brush, hold Alt, and click. That way, when we select
it, we know like, okay, so 007 or at RGB 19. So one, if we go
ahead and go in here, I believe that I should be
able to just set the student. Oh, wait, because it's that way. In that case, what I'm going to do because it reads it
slightly different, which is a little bit
annoying, theoretically, if this is zero to one, I actually did not
because normally, I of course only
did a prototype. I guess we could go 0.125, which is basically eight
divided by sorry, 1/8. Logically speaking, we
should be able to do that. That would be 0.25
for the next one. I will just see if it works. Because we know soon enough,
but this should be the way. It's because normally here, normally I use a color one, and then I am able to simply set the color here
and here you can see the actual color values of the RG and B and
stuff like that. So it's a lot easier
to just select that. However, we could just probably do this to make it simpler. Anyway, what I will do
is I will go ahead and create a black mask for
all of them over here. And then if we just go ahead
and go to our mask, sorry, slice mask option over here, I can go ahead and set the
first one to concrete. This is just testing, by the
way. First one concrete. Second one wood.
Third one metal. And as you can see, now we
have these options over here. So let's see if they
work, shall we? Let's go ahead and simply
save our scene and let's go ahead and export our textures
over here. Here we go. Save settings. And if we go ahead and
go inside of unreal. Oh, God, I need to open
up on my folders again. We want to go to our Sir one, and this will go into
our base scholar, so I should just re import
that and look at that. That seems to be
working totally fine. You can see that
over here, clearly, we have our concrete. Here, we have our wood. And here, although you
can barely see it, we have our metal. Definitely, metal is one that
I might want to replace, and then over here you can
see that it uses wood can. So our system is working. We are now able to
simply select based upon the grayscale values
our different textures. Now, knowing that,
what I'm going to do now is I'm just
going to go ahead and I'm going to turn these off and turn this one to white so that everything
becomes concrete. And I'm going to
export it again. And now I will basically
balance things out, and then we can start
by adding more stuff on top of our material
for moss selection, for roughness variation,
for highlight variation, and for dirt variation. So it's a big one. So
right click reimport. Let's going to our stare one, and let's actually go ahead and do some balancing over here. So first of all, we have
our normal strength. Let's set this to one. And then the second one that
we have is over here, we have a tiling. I set it to like
ten, for example. And maybe not ten, five, six, seven,
maybe like seven. And then we have a
diesel enormous tank. So that's one if we set
this to two, maybe 1.5. Now, another one is
that I'm not sure. Like, here the colors are fine. So in the sun, the
colors are fine. Here they do feel still
a little bit dark, to be honest, but that
could just be my lighting. So that's something that
I might want to look at. But for now, I guess that
these colors are fine. We are going to, of
course, give options to control these colors.
So that will come also. But as you can see over here, now you can see that even
if we go really up close, this is looking pretty good over here where it
just feels high resolution. At this point, what we can
do is also double check. So here base col normal. So all of these
options are correct. Yes, we have those. This
should all look fine. Now just because, of
course, it's a big shader. This sometimes happens when I accidentally set the
SRGB on my slice, but it should be fine here. Let me just quickly reapply
that slice and save again. But it already registered as being correct, so
that should be fine. These concretes, what I do need to do because I feel
like they are inverted. So I will need to go
into Advanced and I will need to flip the green
channel on them, and hopefully that still works. If that doesn't work,
I will flip it inside of Unreal or inside
of Photoshop. Yeah, that gives me I think it breaks because it thinks that it's a norm
map when I flip it. I completely forgot about
this in full disclosure. Here we go load them
up in the food shop. This is just because we
are using, there we go. Texas.com has OpenGL textures
and Unwel is direct X. Normally, you can of course, just flip the green
channel inside of NWL, but because we are
utilizing the blue channel for something else,
that's not very good. I'm simply going in and
click on my green channel and press Contra I to
invert my green channel. Should do the tick. So now we should be able to
just select them, reimport, and just double check that it did not
reset anything on a slice normal. I did not. Okay, so now, yeah, you see. So now it is looking better because the norm maps are going into the
right direction, which is what we wanted. So that is looking
pretty good already. I was going to do some testing. I was going to go to my Sir one. And here I have my
norm map and my Sir, of course, our stairs are
not completely done yet, and we still need to
add more masks to it. But for now, let's say
that we have a stair, and right now it's
four K textures. For this to really
know if it is working, it's better to
actually go lower. So a stair like this, with these
optimizations, I would probably go to like 512
or something like that. So let's do a logical size
and not push it like 1024, 512, probably 1024, but
let's just push it to 512. You can go to Advanced and your maximum text size
and set it's to 512. You can also go in
here, you know, maximum text size and
also set this one to 512. So now you can see that now
we are like a low resolution. And the first thing
that I notice is that I do not really like this
concrete, to be very honest. Like, totally, our
system is working, but it is totally fine
that sometimes you just don't have the texture
that you like. And this texture over here, it almost feels like yeah,
I don't know what it is. Like, it feels like they baked something that was
really low resolution. That's kind of what
it feels like. So we might want to
go ahead and just change the concrete
texture to something else. But here you can see with 512,
especially from distance, if I just go ahead and also play round set my
normal strength, maybe to like three or
something like that. Okay, not three,
maybe maybe two. And then over here, I can
control my tiling amount, so I can set it really strong, but I would probably make
this like micro detail. So 2010, 15 maybe. Yeah, the systems are
working, so that's good. I think I want to go for ten. So the systems aren't working. The only thing that
I don't like is, as I said before, I
don't like norm map. So what I'm going to do is I'm just going to go
ahead and off camera, spend some time trying to find a really nice
looking concrete normal, and then I will let
you guys know where I found it. But so far, good job. I would say we can
probably like sett 1024, just to kind of push
the quality for now, and later on, we can
always lower it if needed. But without 1024, we kind of, like, lose some of those
leeches and stuff like that. But there is also definitely some other stuff that we need to do to just improve the loop. But this is looking pretty good. S 1024, that's looking nice. So let's go ahead and just
finish the chapter off here. And the next chapter,
I will hopefully have a really nice looking concrete
texture that I found.
42. 42 Creating Our Asset Master Material Part4: Okay, so in the end, I end up going with, like, this concrete normal over here, which was a little bit
of a stronger one. And yeah, so basically, I thought it was, like, too strong initially, but because we are tiling
it quite a few times, it ended up working
quite nicely. So here you go. I
already, of course, set it up, replaced
my origin normal, but here you can see,
like the difference. So this one definitely
is working a lot better. And, of course, we
can use our stair one to, like, set
this to maybe, like, 25 tiling here to make it more micro detail
and stuff like that. So that one is definitely
working a lot better. So I think 20 is like a
nice amount to set it on. Now, what we're going
to do in this chapter, now that we have our core
systems ready to go, is we are going to
go ahead and add additional flexibility
to our texts over here. I don't know what
this is, delete it. We want to have
also a special mask which allows us to add
additional dirt, moss, roughness variation,
and highlights all into one single mask which we can generate
in substance painter. At this point, it
is quite basic. It's something that I've already shown in other tutorials, but it's still really useful. The first thing that I want
to do is I want to add some additional options
to, for example, my base color and probably also do I want to
increase my norm maps? No, I probably do not want to have options to
increase or decrease my norm map strength of this one because we already
have the Detonrmal. So anyway, let's do a
simple one. Multiply. We're just going to
go ahead and multiply our base color using a constant
three vector over here. And a constant three vector, make sure the right click
and convert to a parameter. They call this color overlay. That's an easy one. Just
make sure that it is white, which means that
nothing happens. And this allows us to add some small changes to our
base color just like that. Now, next to that, I also
want to go ahead and do a power note, and I want to grab
my roughness in the base and a scale peremter which you'll
call roughness. Oh, no, wait. Let's do this. Base Roughness power. And let's set the
default to one. This will just give us
slight control over or slight large control over our roughness
strength over here. We have our ambit clusion
here. Probably you want. Let's do do I need to,
let's do multiply. I don't think a power is needed. So let's multiply
our AO strength using a scalar pemeter again. So a click AO strength. And once again default to one and just throw this into
our ambit oclusion. So that's an easy one. That will just give us
some very base options. Now, next to this, what I'm going to do is now
we kind of, like, need to first of all, generate
a mask so that we kind of, like, know what we need to do. If we go ahead and go
to Substance Painter. Now, generating this mask, it might yeah, I don't know. We can do it in here.
Yeah, we can do that. If you let's just go
ahead and generate the mask inside of our
original texture already, that might give us or
save us some time. However, that means
that our setup needs to be slightly different
because normally, I just do it in,
like, how you say it? Normally, when I
generate these masks, it's the only thing I have in
my substance painter scene. Now, we just need to
keep this in mind. We need dirt control, roughness control, highlight
control, and moss control. I'm just thinking, do I forget anything?
I don't think so. So yeah, some dirt, some moss. The moss is the most important one roughness and edge
highlight varies. That should be fine. Okay,
so let's pick those four. Now, what we want to do in our channels is so we
need four of them. So if we go to us channels, we want to have
User channel one, two, three, and four. And now, in order
for me to, like, properly remember that, I will go ahead and change
the name slightly. So U one. Dirt. And you
should see this as R, G, B and A, because we are going to
pack it all together. So one is DRT. U two is going to be
let's do highlights. U three, let's say
roughness on the score. Variation. And U four is moss. Okay, so we now have these four. And now what we need
to do is once again, we need to, like, just create a small
material that we can use also later on
in our other projects. So create a nice folder
and move it to the top. And let's just go
ahead and call this. Yeah, this one is going to be D. D, DH RM Dirt
highlight roughness. Ms mask. I don't know. For some reason, this was a really difficult
name to think of. Now, having that, we want to go ahead and get
stat with the fill layer, and our fill layer
needs to be the base. For that, what I like
to do is I like to go ahead and for the base, I like to because we're
generating it. Stalled base. Make the roughness map. Oh, sorry, the base color map, like, a little bit grayish. Our height map we
don't really need, but we can just
leave everything on. And our slice map we
actually don't want on. S, no map, actually, yeah,
let's just turn off those. So yeah, let's just
turn everything off. So let's do color, and then
we have all of our maps. We want to make sure that all of these user maps are black so that the
default is also black. Then what we basically have
is we have another material, and let's call this U one DRT. And for this one, what I want to do is I want to turn everything off except for UO dirt
and my base color. Sorry, my base color is
actually supposed to be black in the base. The reason I want to do this
is because these user maps, the only way for us to see
them is by selecting them, but you can see that because we don't have any shadows
on these maps, we are not able to properly
see what we're doing. That's why we need
the base color. But at this point, if I go
ahead and a black mask this, you can see that now
the default is black. I can now start by
generating my dirt mask. Now, for my dirt mask, so this is going to be
just some gray dirt that we are going to
art on top of it. We can go ahead and start
with something simple. Let's start with
a dirt generator. And I do know, I already
placed some dirt in here. So I want to make
sure that I don't go for dirt that is exactly the same as the dirt that I already placed in here. So this one is like moss, but I don't know if I want it. Let's go ahead and
let's try surface rust. Surface Russ is more
better for, like, our roughness variation
when I look at it. The moss. Yeah, that one we can later on
use for, like, moss. I just wanted to quickly check. Let's start with maybe
some ground dirt. Over here. And if we just go ahead and get
rid of that grig map. So if we just select this one, so this is just like
some ground dirt, but this ground dirt, it would probably
be good to have it actually on every single stone. But because having it on
every single stone that does not really work with
a mask like this, it might actually be better
to paint it by hand. So let's go in and
actually do like a paint. Go to our brushes and just grab a brush that looks a
little bit like dirt. I'm just going to grab
one of my custom brushes that you can also
find on our store. And it doesn't like we are
going to break it up with a norm map, sorry,
with a grudge map. So just make it a little bit. It doesn't have to be perfect. So I'm just going to
go in the cavities. Over here, maybe I need
to, like, go here. So I'm just doing this very
easy or very basic just because I don't know yet
exactly how it's going to look. Later on we will also
have moss in these areas, so it's all overlay. We have to dart and then the moss will overlay
on top of it. Let's say that this is our base, then we are going
to add a fill layer on top and this fill
layer is going to become our grunge
to break things up. Let's maybe let's try grin
charcoal maybe and make sure it to multiply and maybe set the tiling to five
or something like that, and then you can
use your balance. Here to, like, kind of break it up. And I'll see your contrast. Okay, so we have this one.
I'm not sure if I like it. Let's maybe try,
let's try this one. No. I just need to have
something that's, like, a little bit more
softer and grainy. Hm, that's tricky. It's hard to find one that I
like maybe Crouch maps 013. That's always like a classic. Yeah, okay. Let's use that. That should be fine.
So that's like a base. Now, on top of
this, I, of course, want to go ahead and make this a little bit more
visually interesting. So let's say that now, I'm going to find another mask that I can add on top of it. Ah, let's go. So
we have some dust. The occlusion dust is probably too similar to what
we have before. Although, actually, it does work quite nicely in between,
like over here. So maybe we can
actually use this. Let's go ahead and
set this one to Max Lighten to add it
on top. And let's see. So if I go at set by dug
level like quite low, and my edge masking can be let's set the edge
masking all the way down, which will just give us
a little bit more edges. Yeah, I think something like this actually works quite well. Now, one thing that I
know from experience is that we need to add
another levels on top, and we need to
always make this a little bit stronger
than you would think. Then you would be cofoid
because in unreal, unreal is not as good at
reading these gradients. So just pushing it a little
bit often works better. So we have our dirt over
here. That's the first one. Now the next one is going
to be edge highlights, so let's go ahead and once
again, create another one. You too. Edge highlights. I want these to be just
large soft edge highlights, so I can go ahead and just keep the color on. That's fine. And I'm just going to get U two and make sure that it's
white and turn it to black. At this point, in my U one, I'm going to turn
off the color so that I can properly
read what I'm doing. So for this one, let's try some concrete
edges. Maybe those work well. See, maybe like a softer one. And see if I can
maybe tone it down. Oh, no, wait, this was like
the really strong one again. Um, yeah, I don't want to bother too much with these
because they are not really that important. So let's just try Edges one over here and let's see if we can maybe
manipulate this a bit. Let's give it a bit
more density and then maybe we can play around with the grand
over here. Oh, wait. Actually, let's set
texture one down because I want this to be
something that's quite soft. Let's say something like this, actually, it gives us
some edge highlights. And if we now, you know what? Let's try a filters
with a slope. And set this source
tiling quite low. Set the intensity mode? No, 1 second, out of
saving mode minimum. Do I like that? I'm not sure. It looks interesting. Yeah, it does it does
look interesting, but it looks a little bit too much like liquid. So
let's not do that. Let's instead maybe just do
the classic one where we add a fill layer and I'm going to grab a different grinch that I will
just like overlay on top. And maybe what I
can do is if it's like let's say that's
like this grinch, what I could do is I
could go to my triplanar. And set this one to be sideways by holding
shift over here, just to give it a little
bit more direction, as you can see. And then this one needs
to be a multiply. So we are going to
multiply it on top. There were going to break up everything a little bit more. And then once again, add a
levels on top and just push your levels a little bit stronger than you
would normally do. Something like this
to get started with. Okay, cool. So that's
edge highlights. Now we have roughness variation
that's quite an easy one. So once again, turn off
the color in your YouTube. Three roughness on
score variation. And this one I only want to
be color roughness over here. And for this one, we're
just going to go ahead and remember how I said that
I quite like that rust. The surface rust over here. That one often gives quite an interesting effect to, like, add some small roughness
variation everywhere. The only thing is that
like the position is, let's tone down the Let's set the ambient
occlusion a little bit lower because right
now it doesn't want to generate where
there's ambient occlusion, but because this is a stair, it has really white
embot eclusion. So something like
this quite good. You can also play around
with your textures to break it up more or less here. I'm going to, like,
lower that down a bit. And once again, just
add the levels and just push the levels
up a little bit more. Okay, cool. Now we
have the last one. So the last one is
going to be moss, and moss is one where we are going to actually have not just colors, but unique textures. The moss one is going to be
very important, actually, because we are later
on also going to use that mask to generate
where we want to have actual geometry moss
because we're going to use nanoid to generate
geometry moss. If I go ahead and do
Newfllaer call this U four gns on the
score variation. And for this one, once
again, let's say, let's turn everything
off except for the base color and the moss. This one I can actually
turn off the color. And let's have a
think about this. So I'm going to start
with some filters, but mos often requires
manual painting, just to get like Wi well done. So let's start with well, let's start like
moss from above. Now that's way too strong. Let's try literally just
moss could be a base, and moisture is that one. Let's see if we can use moss as a base and then start
painting on top of it. So Um, I'm not sure. I feel like I don't want these specs.
That's the important thing. Like moss, I want something
to be like a network. It's something that's
linked together. So we might go for more
manual painting again. I will see if there's maybe something like some
occlusion type thing, because the occlusion
type things are good to, like, oh, this one
was pretty good. A good to, like, start
with and then to paint them out again
using your paint. So let's see if I
just have this and then maybe in my occlusion, I no, that's annoying. Like, I don't want it to,
like, lose the effect. I'm going to turn this on off. I just want it to
minimize the effect. Um, let's try using balance contrast and
maybe some blurring. No, actually, let's
not do blurring. Let's try to use those to kind of get this moss to sit in here. Okay, let's say that we
have something like this. Now what I'm going to do is this will mostly just
be hand painting, but I don't really need my
drawing table for this. So at this point, I do
recommend that you just go to ArtStation marketplace or to flip normals or
something like that, and just get some
interesting looking brushes, something that's
like a bit softer. So I'm just going to
go ahead and here, like could this one, this one could probably
work as like moss. Then what I want to do is
I want to go ahead and start deciding where
do I want the moss? As you can see over
here, moss it's often growing on
the basis and then it just grows out
to other areas, and I want to try and
capture that same effect. Also over here, you can also see really nice how the moss works. I'm just going to go ahead and just paint and just see
what it looks like. Let's get started by first of
all, that's a tricky thing. These moss pieces, actually, normally you would make
them more directional, but we cannot do that because we are using these up and
using these more and more. What I'm going to do is I'm
just going to go ahead and I'm going to see let's see if I go ahead and make most of these stones
over here, quite mossy. And then I just need
to have a think about how I'm using
these stones. And see over here, I also want to make this I want to add quite a bit of moss to get started
with to these areas, and then I can
always tone it down. You can hold g to lower the
amount of moss that you have. Let's see, something like this. Let's say that over here,
I'm going to again because often we do block these
off near the edges. So this would actually
be good to have a lot of mos off the near edges. Maybe lower the
amount of mos here. But yeah, this one's just like playing around like
I will probably need to come back and also
improve this one a bit more. But for now, I'm just trying to get something that I can use
for previewing purposes. See, something like that.
And then, of course, we will break this up a
little bit using mouse, but not as much as we
did with the dirt. May, I quite like mossy breaks, just to make it
more interesting. Okay. Okay. Yeah, that looks
pretty interesting. Maybe over here, just like Yeah, You know what? I think that looks
pretty interesting. It might be way too repetitive, but that's something that
we can just see later on. So we got this one. Now, let's go ahead and start
like a fill layer on top. Yeah, I know this is quite a lengthy process doing
all of this stuff, but it's just important
to get it white, and then after this, I will just timelapse it most of
these type of things. I want something that is that will not break
things up too much, but I also want
something that, mostly breaks up like the
edges, probably. Let's see, this one,
grunge leaks dirty. Let's set this one to multiply and maybe like a tiling of like five or
something like that. And just like play
out by contrast a bit more. Here we go. So that's just like
to break up some of the dirt over here
and stuff like that. Now I want probably another one, but this one, it's a tricky one. So I want to have a grind map that is
breaking up the edges, but I want to paint in where
I want it to break up, which in this specific case
is not going to be as handy. So what I will do is for now, let's just first
of all, test out, see how it is, and
then I will create a system like that
a little bit later. But let's actually focus more on the creation of our
material right now. We have our DHRM mask. Now what we're going
to do is we're just going to go ahead
and go to our expert exturs then in our
output templates, we want to go ahead and what do we have JP tutorial asset? If you want, you can add this to the same expot so that
always exports everything, or you can do it separately. So where is our JP Tati asset. I can just add it here. It
shouldn't really be a problem. We want to have an R
plus G plus B plus Amp. We're going to call
this texture set on the score DHRM and then we are going to have
user one in the red channel, user two in the green channel, User three in the blue, and user four into the Alpha. That should be everything.
Now if we go ahead and I'm just going to navigate
to my Texas folder. Assets Sir one and then
Unreal Engine and that's plus pot. Yeah, that's there. Okay. Now if we go ahead and
go into Unreal over here, we can go to our stair one and we can go ahead and we can
drag in this specific texture. Does it need to be SRGB? No, it does not need to be SRGB. So let's go ahead and save that. Okay, so if I have a look, it looks like it came
through all white. Awesome. Okay. So we
have this texture. Now what I want to
do is I want to go ahead and I want
to drag this into my asset master over here and just drag the
texture in here. Right click and convert this
to Premter and just call this DHRM score
mask, for example. Also, did we actually convert
this one to perimeter? No. Base color. And this one convert
to perimeter. Normal map. Over here. Okay, so now what we need
to do is we just need to do basically a bunch of
layering on this texture. It can become quite
confusing quite quickly. However, what we could do to avoid confusion is we can add a reroute and just call
this DHRM underscore mask. And just plug this into
your RGB over here. Oh, no, wait, sorry,
we cannot do that. The reason we cannot do that
is because we need to have all of these separate channels so that would be more of a pain. Okay, then you will just
have a bunch of connections. I hope that's okay. The first one is
going to be a lub, and I'm just going
to set up the dirt. And oh, we are already at 30
minutes. I'm going to quit. I'm going to stop the chapter here, and in the next chapter, we will just go ahead and set up the mask just to keep
things organized.
43. 43 Creating Our Asset Master Material Part5: Okay, so let's go ahead and
continue where we left off. Now, for our dirt, we
most likely don't need, like, some kind of
unique texture. That's only W for the moss. So we can just copy
our color overlay. And just call this dirt. Color. And let's make it a bit of
like a brownish type dirt, something like this
as like a base. You want to go ahead and
plug this into the top, plug in your multiply
into the bottom. And now we want to
grab our red channel, but we also want
to create a power. Plug that one into our
red channel and then add a scale perimeter and
call this dirt mask. Strength. Maybe later on,
we can also add a norm map, but I have a feeling
that the moss will overtake most of the dirt. So it's like a balance
to get over here, and we plug this into our Alpha. This will basically
control our dirt. If we plug it in here,
it will just apply, as you can see over
here, our dirt. The first thing that I notice
right now is that most likely I need to go
ahead and I need to, um add a one minus. It's probably best
to do it before. Because we need to invert our mask over here because
it looked a bit won, but that's looking
already a bit better. So you often need to invert
masks in order to if you are blending from the
top to the bottom and stuff like that.
So we got this one. We can go ahead
and first of all, make sure that it works. And then what we can do is
we can go ahead and also apply this to our roughness to control how much
roughness our dirt has. So as you can see, that seems to work totally
fine. So we have our dirt. We can go in here and
we can already go in and let's have a look. So we have our dirt
mask strength. Let's see how that works. Yeah, more dirt. Less dirt. The less dirt, you
cannot go below zero. But zero means not nothing. But of course, if
you would do zero, then you wouldn't just
make a dirt mask. So let's say that I'm going
to set this one to Yeah, let's keep it for one for now. And I'm going to make my dirt collar to be a little bit more like a darker brown, slightly saturated color,
something like this. Actually, you know what? Let's use this as
the default color. Let's copy the SRGB, go in here, click on it, and then just paste
the SRGB again. There we go. That's
like a better color. And I set my Yeah,
actually, that's fine. Now we have our roughness,
which is this one. We can just go ahead
and duplicate our lub. In the B, we are going to have a normal roughness,
plug this in. We are going to have a D mask
again into the Alpha and a scale perimeter
that we'll call D. Roughness into the top. Roughness, zero means
shiny, one means dull. So let's make this like 0.9 because dirt is often
will dull looking. And then we can go ahead
and also save that. We are basically going to do
this for every single input. So it might look very messy, but it should it should be
pretty straightforward. So let's just go ahead
and do the second one. So linear interpolate. This one is going to
be edge highlights. Once again, we can
just use a color. Edge. Actually, I'm just
going to call it highlights because we won't always use it for edges, maybe. And let's go ahead and
make this pure white. And once again, we want to go ahead and just copy
this structure over here. But this time, this
one is going to be highlight, mask strength. So we're just stealing stuff
and just plugging it in. Since we're going to have
quite a few of these, let's just go ahead and
just nicely move this down, and this one is going
to be our base color. The order in which
we do things matter. So if we are the dart, the edge highlights
will be ed on top. If you want to have
them on the bottom, then of course, just like, swap around the way that you
are lurping them together. We can go ahead and go in
here and call this one. Highlight roughness.
And I like to set this probably to 0.5 to give it a bit more shine and just again, plug in your mask. There we go. Okay, so edge dirt highlights now comes the
roughness variation. Roughness variation, you guessed it only has to be
in the roughness. So we can go ahead and just
plug this one and call this one, variation amount. And then in the B channel, we can just plug in our
original roughness. And in our Alpha, we can go ahead and once
again, just one minus it. Call this Roughness
mask strength. And just plug this one into
our roughness variation. Roughness variation.
You know what? So the roughness
variation, that one, let's see if we do the power, it will add the roughness
variation on top. Yes, that should
be fine, but most likely what I kind
of want to do is I want to grab the
roughness from my original, from my original shader, and I want to basically add
the variation amount to that. So if I go ahead, I can do that by adding a no, not a multiple.
Let's add a power. And I'm basically going to power our original roughness using the roughness variation amount, and that's the one I'm
going to use to larp. So this way, I can just
get a little bit of those roughness details that we already have in our original, and I can add this on top.
Yeah, that should be fine. I might want to end up
deciding to actually use my base roughness and not also the dirt and
the highlights, but we can check. So that's that one. Now we have our moss. So for our moss, we
need to have a texture, and we need to have I
think we can base color, and I can use the alpha of the base color
for my roughness, most likely, and then
just like a norm map. Or I can just place
it into normal. Doesn't really matter. You now know how to switch
things around. So if we just go
ahead and type in Ms, so I'm just going to
steal this one from text.com because most of the
moss that we will create, you will not actually
see later on. Um so I'm just
making a new folder. And the reason we won't
at is because we will have actual jom tree
moss on top of it. So let's see. This moss. Honestly, like I said, it
doesn't really matter too much. I'm just going to go
ahead and I'm going to grab this one, and
I will do, like, let's do like two K, bido
no map, and roughness. Honestly, when you
look at the roughness, you can probably even get away with just not having
a roughness at all, but technically,
it should not add any expense to add
our roughness into, like, one of the other channels. So we should be able to
just go and Photoshop. Crab, for example, our
Albedo map over here. Now, the first thing
that I also notice in the Albedo map is that
I probably already, I will mostly do this
inside of unreal engine, but I can already go to
adjustments, hue and saturation, and I'm just going to make
this a little bit lighter, and a little bit more saturated. Over here, like
balance it out because it's way too dark,
something like this. Now let's grab our
roughness map. Contra A, contra C, go to our base color,
Alpha Contra V. There we go. So that should do the
trick. Save a copy. I'm going to go ahead and save
this one as a What are we? Image mode, eight
bits. Save a copy. Targa file. Yeah, Alpha
channels is included. So moss underscore. Base color. Here we go. And just for consistency, I'm going to also load in
my normal save a copy and just call this Sorry,
mod eight bits. Save a copy. Taga moss on
the score. Normal is fine. And let's go ahead and
save that one, too. Okay. Awesome. So we can
go ahead and just input this stuff straight away. So textis New folder. Moss. Here you can already
see the shader in action that we
already applied. And now we can go ahead
and import this one. So first of all, let's go into
our moss normal over here. This time we do need to
flip the green channel like this because this one comes in real or
sorry, from Momset. It looks like that it did not
properly export the Alpha. This sometimes happens.
It's really annoying, even though it says that it
exported the Alpha maps. Um, in these events, what I tend to do is I tend
to just go ahead and be lazy and delete the base color and just save the base color as a different map that
actually allows Alphas like TIV or believe B&G
does not allow Alphas. No, PNG does not allow Alphas. So let's just try TIF. Ms score base color. I honestly don't know why it does that. It's really weird. I'm sure that there is an
easy explanation for it, but yeah, it's not really something
I would bother Goging. But now you can see that now we have over here our
roughness also applied. Okay, so SRGB turn
on, that's fine. Most normal flip green channel, compression settings
is this time a norm map, which is also fine. We can go ahead and we can grab these two textures and drag them into our master
material over here. For these textures, I most likely do not need
to expose them because I do not
expect to needing to, like, enter additional moss. And if I do, I can
always do it later. Let's add a texture
coordinate note, along with a scale
peremter called moss. Tiling. Let's set it to five by
default and simply multiply it because we need to
control the tiling of our moss and throw
this into our UVs. Okay, cool. So we got
these ones over here. If you want, you can go ahead and you can C to the comments. Car this moss I'm going to go ahead and I'm
going to grab this one again, throw it into my Alpha. Call it moss mask strength. Then if we go ahead
and just let's larp. We are going to larp this
one with our moss color. Let's add a multiply and let's add some
variation to this. We can add and multiply. It's moved in bottom and a constant vector that we will call convert
the perimeter. Moss. Color. And by default, we will
set this to white. So this time, we can make
our moss slightly more green or not or whatever
we want to do with this. We can go ahead and
plug this one into our mask strength over here so that should
control our moss. Then over here, we want to
have another l and in the top, we want to have a power note, throw in Alpha, scale perimeter,
moss roughness. Amount. Default one, which
means nothing, throw this into the
top and once again, throw our mask into
our lub over here. Tata Okay. Now the last one is going
to be our normal map for which we want to add a
flattened normal node and you drag in your RGB into the normal and then a scalpemter call this moss normal strength. Default, you want to set to one. Sometimes you need
to set this to minus one, but we will see. I think if I look at it,
default of one is fine. B here, if I do minus one,
it's just like inverted. This will control the
strength of our most normal. Then what we want to do
is we want to go ahead and art our p just like normal. Want to grab our normals
this time over here. And now I'm just kind
of having a tink like, do I want to have the Ms normal replace our original normal
or have it blend on top? And I think having a
blend on top is best. So we are but blended along
with our original normal. So we plug in our mask. And we just use a node
that we used before, the blend angle
corrected normals node. We plug into our base,
our base normal. We plug our moss normal in
the top, and we blend this. So we are blending
our base with a base with a blended
normal using a mask. Okay, that was quite
a bit of information. However, this is now
pretty much ready to go. Just going to go ahead and
make this a bit bigger, and I will, of course,
organize this later on. But we should have our material. Yeah, it should be
pretty much done by now. So let's just double check and make sure everything
looks correct. Okay, so the moss is
instantly working, also. You can see that now we have quite a few values over here, but we know what they all do. So let's just go ahead
and have a look. First of all, I'm
going to go ahead and have a look at,
like, my highlights. So my highlights right now, they are quite intense
because they're white. I should be able
here. If I make them dark, they become less. And that's a better way
of doing it than making them disappear using my mask, but I can go in my
highlight mask strength because it uses a power, the highlight mask strength, which means that we can never
get rid of it completely. If you want to get
rid of it completely, I recommend using a
multiply instead. Oh, sorry, that's the wrong one. But instead, I'm just going
to go ahead and I'm going to see if I can do it
with my collars. Something like this. Um, I'm just having a think if we
can solve this a bit better. So highlight mask twins. I think this is fine. I think
what we can do is it would make more sense that if we don't want to have
it as intense, that we simply go inside of subset painter over
here and just go to our highlights and then
just go ahead and use our levels to push
it down a bit, or actually, we can even
use our mass generator to tone down the amount
of how much we want, and then we simply
export this again. Like that. And then just
a matter of going in here, stare, re import. There we go, just like
tone it down a bit. Okay, so we got our highlights
that is looking good. Now, our dirt Let's
first of all, do our moss because our
moss is quite overpowering. Let's say the tieing to maybe
ten or something like that. And let's have a
look. So we have our moss roughness amount, which I want to go ahead
and set to probably maybe, like, actually a bit shiny, like 0.3 or something like that. If you cannot really see it, you can always go to your
buffer visualization roughness. And here we can see roughness. So I guess we
actually need to go, yeah, because it's infinite. So we need to actually
go for, like, a higher amount, not a
lower amount, in this case. Let's say, let's do like 50. Like, I will become quite shiny. But it's fine to push
stuff like that. We have our original
color overlay, which is also working fine. And then we also have a
moss color over here, which we here see, we can
control the moss collar. But for now, this is
also looking good. Yeah, definitely like I want to break up my moss a
little bit more, but I will show you why I'm not too worried
about that right now. We have our Dirt mass strength, which I can probably here I can push and maybe make it
a little bit darker. And the reason I kind
of want to push it is because right now the moss
is quite overwhelming. So this is something
that I'm not too happy yet about the color. I feel like maybe
just the color, we can go ahead and
grab like a dirt color. That might look a
little bit better. So, if I set this to like eight, Yeah, that might
look a little bit nicer if we grab
like a dirt color. Let's see, our AO
strength over here. Yeah, that one is fine. Our tiling is already working. So that's also good.
Base roughness power. Oh, yeah, that's just
like the base roughness, for which we can make it more or less
shiny if we want to, but I will leave that. These are normal strengths fine. I will later on split this up so that it's
easier to read. So our dirt, we checked
out our dirt roughness. The roughness is this one. Yeah, okay, so that's quite
white, so that's good. Highlight mask strength, and then we have our
highlight roughness, I'm going to make a little bit darker so that it
stands out a bit more. That one is also working fine. And then, okay, moss normal strength. Let's
try that one out. So right now, our
moss normal Yeah, we can kind of, like,
maybe set like 1.5. Make it a little
bit stronger. Okay. And yeah, definitely, over here, you can see, like the dirt. The dirt is also not really
not as soft as I would like. So let's go into
our painter scene. Okay, so it's not
quite soft in general. I'm just going to maybe lower down my levels
a little bit. Export that. Right click
reimport. There we go. That adds a little bit more. And then for the rest
the mask strength. Yeah, you just maybe
don't push it too much. That's going to like four. And oh, okay, cool. Our roughness variation amount. That's the ones that we
still had to work on. So if we go ahead and just,
I have a shortcut, Contra D. I can go in my roughness
variation amount over here, and maybe I want
to make this one, like a little bit darker. Like, I want to just add
like some darkening to add some additional shine to my
roughness. Let's say 1.2. And you can also use your mask once again to make
it more or less. So everything is now working. It's always important to
just fully test everything. So now you can see that
now we already start to have something quite
interesting looking. Let's go ahead and move
this down and let's save. I see. Actually, that's
save everything over here. To make sure. But you can see that now it's already transformed our
stairs quite a bit, especially like over here
where they are in context. So what are we going
to do next chapter? In the next chapter, I will show you how to do one
of the last steps, which is art actual geometry, moss based on our mask on
this material over here. And after that, it's just a matter of
well, at that point, I will probably go
ahead and start by finalizing these larger
pieces over here. And what we're also going to do is we are going to go ahead and balance out our materials and just create all
of our other pieces. So the last thing
that I want to do is, I'm just going to super quickly, and I will just place
this into my moss. I'm just going to grab
like a dirt. Base color. I don't need a map or
something like that. I just need something that gives me some variation
in, like, the color. So if I actually
just look over here, okay, that one is too intense. That's one. Probably the
stones will not look very good. She needs some soil. So But I still want quite a bit of color
variation in it would be nice. Maybe this one. Actually, no, I probably best to avoid
directions to avoid, like, specific
directional stuff in it. I was a pioneer. Okay, I guess I
can use this one, and I'm just going
to, like, alter it. I'm just going to crap
like the 1024 version. Trojan here, and I
will just rename it dirt nscore base color. I'm just going to
go ahead and throw this into Photoshop quickly. And Image adjustment, HSL, tone down our
saturation quite a bit, set the lightness up a
little bit. There we go. And just like, save it again. And let's start by using that. I'm just going to throw
this into my mouse. That's fine. Double click. Turn on SRGB. Okay. One sac. Image, mode. Set this to eight bits and then save because else
SRGB gets confused. Right click reimport.
There we go, see. Now SGB is not confused anymore. So throw this in here, and instead of our dirt color, have we can multiply
our dirt color. Oh, you know what? I have
an idea. I have an idea. Let's go in here and let's
actually go down and set the saturation just to
zero. Make it gray scale. And then what we can do
is we can use this one, and then we have
our dirt color and our dirt color will basically
dictate what it looks like, but we will still have
these shapes over here. Because I don't really want
to bother with the tiling, I'm just going to steal my
most tyling because I assume that my most tyling
is often around the same as my dirt
tiling can be. If I just save this, I need to make this a little
bit brighter, actually. Let's just go ahead and
set it to two. Five. Okay, let's start
with that. And now let's go in and actually, because yeah, I'm not yet happy about the mask
amount and stuff like that. But now I should be
able to go in here. First of all, we have
a dirt mask strength. Probably best, tone that
down and just like, push it up inside of painter. And also, what I'm going to do I have my dirt
color over here, and I'm just going to
go ahead and, like, make it a little bit less. Something like this. Okay. And our last thing
that I wanted to do is that I'm just going
to go ahead and push everything inside of painter here by grabbing my grunch map, pushing up the
balance quite a bit. Oh, yeah, wait. I
did manual painting. I completely forgot
about that already. And then we have a dirt. And let's also just push
that one up and maybe, like, play around with
the contrast a bit more. Let's try that just
because I know that the moss is like overtaking
a lot of this dirt, so it might just look
a little bit nicer. Yeah, see, here, so
now we have that dirt. And it's also good when dirt's
sitting under the moss. It will give another
layer of realism. Okay. Awesome. So that is
pretty much done. By the way, I'm not
really happy about these really strong
normal map details, so that's something that comes when we do the balancing phase. But for now, I
think that we have a pretty solid looking
texture over here. Stop checking something.
Oh, I did not add control for my
non map strength. But yeah, I believe
that we have a pretty salt looking
texture over here. Sir, we need to
balance some stuff. But in the next chapter,
let's first of all, focus on creating some
actual jom tree moss.
44. 44 Creating Our Procedural Geomatry Moss: Okay, so in this chapter, I'm going to show you the
final technique before we are ready to get started by
creating all of our meshes, because most of
our other meshes, they are pretty similar in
terms of the techniques, although we are going to do some interesting
displacement stuff for this one over here. And that is that we
are going to add actual Geometry Ms, which
is going to be a fun one. So for the geometry Ms, what we can do is if
we go ahead and go to Google and just type in
something called Mos. So we are going to use the power of
Nanite to basically have actual jom try moss
like actual real yeah, just jom try piece of moss, which is going to be really
fun and really cool. And yeah, it's something
that you definitely would not be able to
do without Nanite. It is something that's
pushing it a little bit, so we're doing it
mostly for fun, not so much as a practical
thing to do inside of games, but I just wanted to show you. And I'm going to just go ahead and make something a little
bit like this one. Can I just zoom
in. Yeah. So it's like these soft round bits. These ones, I know
from experience, read the best, the tiny
hairy ones that we have. Here to do these one, it's not only more effort, but they also don't really
read as well, I found. For this, before we go over on how to actually
place it inside of a wheel, we first of all need to go
ahead and create some moss. For that, what we
will be using is we will be using speed Tree, and Speedr is a software that
we are going to use for all of our foliage, and here it is. And it's not expensive. It's like $12 per month, so you can get it for a month
if you only want to use it. But it's really powerful to
create many types of foliage. What I will do is
I will go ahead and just move this over here. 1 second over here
for my reference. And now over here
in my speed tree, I'm just going to go ahead
and where you open it up, just press blank like this. And if we just move
this out a little bit. So we are just going to try and create basically this
shape over here. Doesn't need to
be super special. I do want to make
it a little bit optimized because even
though we are using nanite we are going to push hundreds of millions
of polygons into this moss. So better to just, like,
optimize it a little bit. But what I'm going to
do is I'm going to go ahead and go to my
tree over here. And most time the way
I like to approach it. It's already been
a while, however, since I made the moss is that I like to
go ahead and often I just go in and I grab
a let's do a trunk. So trunks now let's
just do this one. So a default trunk.
Now, of course, this is really, really large,
but don't worry about that. What we're going to do is on the left hand side over here, you have a bunch of settings. And the first settings that
I want to work on is if we go to our spine over here, we have the length, and we want to make this
quite a bit smaller. Let's say, like two or
something like that, so that it becomes quite small. Don't worry. We are not already creating this to real life
size because it's moss. It will not work in real
life size. It here. And then the next thing is
if we go to shape or sorry, skin, we can go ahead
and set the radius, so we can go ahead and do that. Now, what I want to
do is basically, can I Okay, it looks like I cannot really
zoom in more than this. In terms of the radius, we
do want to close the end. For that, we have these little
graphs next to our radius. If you click on it, you
can see that over here. It basically shows
how it tapers off the radius from white to thin. What I like to do is,
I like to go ahead and keep my radius
pretty consistent. And then I like to click twice roughly around here
to add an additional point, and then I like to kind
of go down like this. And, I do want to, like, play around to this
a bit and see, like what works best, something like
this, for example. I'm also going to go in
and I'm going to make my radius quite a bit smaller. And if we go into our spine, we can also go
ahead and just make this length over
here, a bit smaller. So I feel like that I want to make the top a little bit wider because as you can
see in our reference, it's a little bit like rounder. And basically, once
we are done with this and we have a shape
that somewhat works, what we can do is
we can go ahead and we can go to generate. And here we can create
like a bunch of numbers of these type of splines over here. Now, right now they are all linked or all like sitting
on the same place. So what you can do
is you can go ahead and you can play around with a bunch of different settings. So let's see if we just go ahead and because we want to have them all from one point.
So that's quite important. We can go ahead and over here, we can use our start
angle, as you can see. And basically, if we just set
our start angle quite low, and I think I do need more
points, but we'll see. And then if you go click
on this button next to it, the plus minus, it allows you to basically
randomize things. So I can randomize this value
simply by moving it up. And now, what you can
see is that you can go ahead and move it up and down. Now, I'm quite surprised
that it goes into the okay, that's why it goes
into the minus. So we kind of need
to push this up. I can't remember start angles allowing to go into
the ground, but okay. Now you can see
that if we just go ahead and randomize with this, we are already starting to
get a little bit more sorry, for some reason,
moving around is a bit annoying right now. But you can see that we already starting to get a
little bit more like that look that
we have over here. And, of course, imagine having hundreds of them or
thousands, even. So let's go into Generate
and maybe generate a few more and it's going to a start
angle, maybe lower down. And also, if you
are not completely happy about this
specific generation, you can always go over here to. And if you then scroll down over here, you have
your generation, and I believe it's this one that you can know. It's spine. Yeah, over here, the spine
you can use to kind of, like, randomly generate
different spine. So let's get one that is
pretty even all across. I honestly have no idea why
my Rotating is so wrong. Normally, you can rotate
around things quite easily, but for some reason, it's
a bit broken right now. Anyway, actually, let's do Undo. This one is probably
pretty good. Yeah, I think this one
will work quite on. Now, next thing that we're
going to do is we are going to add a bit
of variation to it. We can do this by going into, I believe it is in our spine. There's so many settings. Normally, I just go
to and I just scroll, but to make it easier
for you guys, so spine. And what we can do is spy
the way you have gravity, if you want to make
it go down a bit. But I feel like these
pieces are so small, they wouldn't really be affected
by gravity in that way. If you scroll all the way
down to noise over here, you have your early
innate noise. This will basically just
add some additional noise, as you can see, to our
shape, which might be nice. Now, another thing
is that right now, this one thing is already
like 360 triangles. We can optimize this a little
bit by going to segments. And in here, in general, you can set the accuracy
down and that should give you slightly less amount, although it doesn't show it. And you have your length, and you have your
radio over here. The radio, see? I can make that
quite a bit lower, and that will instantly,
lower the amount. So let's say that we are
going to make it just like a triangle because honestly, we don't
need that much. We are not going to
look at it so up close that would not be good. In terms of the length, you often need your
length in order to get those additional
bits of noise. So I'm actually going
to keep my length, and now we are at around 200. It's still a lot, but it's fine. Over here, we do have an
open space at the top. What we can do is we
can go ahead right click R Geometry and
art a cap on this. Now, in the cap, we don't have too many options over here. To be honest, I think that we are actually too
low poli for this, which means that technically, this cap, because we don't
have enough polygon counts, we cannot make it
nice and round. So it would just be
easier for us to go into our trunk and then actually
just change the radius here. Basically, what I want
to do is I want to make sure that I cannot
really look inside. So maybe if I just place
another point here, I just want to like do
this. It's a tricky one. Like we can try to look inside. We probably you probably won't really have that
much of an effect. Or what we can do
is we can edit this inside of, like, Tris Max. Right now, Oh, God. I didn't mean to press
that. Right now, what I feel is that I feel
it is more important to keep the tops quite thick
and then to basically, place a face on top of it. So what we're going to do is we are just going to
go ahead and edit this in three as Max and then
just make it easy like that. I'm going to go ahead
and first of all, let's save this scene, and I'm going to save it as saves and let's
just call this one. Mos on the score
01, for example. Let us go ahead and press safe. Now the next thing that I'm
going to do is I'm just going to go ahead and
I'm going to go file, and I want to export this. And Yeah, let's make
folder cold Mos. It's probably. No, wait. Let's do a folder cult. Speed to keep it a little
bit more organized. We want to export
this as an FBX. So just called Mero one, make sure that set to FBX. Then what you want
to do is you want to just go ahead and
press highest only. In the atlas, you
want to do none because we don't have any
textures or anything on this. And for the rest,
it's totally fine. You can just go ahead
and press Okay, and now we can just input
it inside of Tres Max. Here we go. Here is our mesh inmported
inside of Tres Max. Now, what I'm going to
do is I'm just going to go up here and add a modifier, which is the holes modifier
just to cap the top. And for the rest, yeah, I
think this should be fine for, like, a small piece of moss. You can just leave this smoothing the way
that it is right now. Now, another thing that I
want to do is later on, I want to basically create a
very simple plain gradient, which is going to
make this moss go from dark to bright because you can very clearly see here that everything is going basically
from dark to bright. To prepare for that, I
want to go ahead and I want to already create
like a base gradient. It might not be perfect
yet, but we'll do base. And it can be super small. It can literally be like, Well, just for good
measure, let's make it one to eight by one to eight. Because it's just going
to be like a plain. We then want to go ahead and
just go to our gradient, move it down here, and then
just move it up like that. I can actually zoom out a
little bit to make it easier. Then if we go to our
properties of our gradient, we want to go ahead and set
the beginning to be like a maybe, like, slightly quite. I think we want it
probably quite colorful, but this is something
that we just have to, like, prototype with. Yeah, let's do
something like this. So it goes like,
from a darker green, yellowish to, like, a
more brighter green. And it's just a base. Like,
we can change this later on. We are going to save
this in our textures, and in the moss textures, let's just go ahead and save
it here as a daga file. Moss gradient over here. Next, if we just
go into three Max, we can go ahead and go
to our material dor and let's wait for
that to load up. In the meantime, I'm just
navigating to my moss gradient. Apply the first texture. Let's call it the material moss. And let's grab a bitmap and grab our moss grannt over
here and just make sure to turn on overt to
not apply any type of weird Gamma changes. Next, now you can see
that our UV was wrong, and that's why we had to do
this inside of trees, Max. We can go to our UVW map, make it a box, and that's often already fine. You
can see that over here. If we just click on it,
we can move it around, it's like a projection mapping. But our goal is to basically
just go from dark to bright, which it is doing
quite perfectly. So at this point, we can just go at the
right click and just convert this all back
to an added pool. So our base moss is now done. What I can do is I can go
ahead and set the screening to ten to make it extra small. And I don't know what this
is. Let's delete that. Now what I can do is
you can just go ahead and export this to unreal. So if we go ahead and navigate
a rear exports to unreal. To score Ms score zero, one, save and export. So that's easy one. Like this is just like the base, and we can, of course,
improve based upon this. We can also decide to maybe push more polygons to make it more rounder and all
that kind of stuff. But for now, let's
actually see what it looks like before we go
a bit too crazy. Let's go to our assets. By the way, you
can remove Sirpes. It's no longer used. And I'm going to
just import my moss. I want to make sure that
built nanite is turned on. I can turn off collision because
we don't need collision. I can turn off light map UVs. We don't need those also.
Combine messages is white. One convex HL pair UCX we can turn off because that has
to do with collision also. And now we can just go
ahead and press, Okay. So if we just tract this in, you can see that it
is quite big steel. However, we are able
to look how nice and high resolution this is even
this close. That's amazing. I like that. Anyway, it
is quite big steel, yes, but we are going to go ahead and scale this later on
using a specific tool. So for now, we can go
ahead and delete that. We want to go in our materials. And if we just go
into our master, we have our plain master, and we can pretty much use our
playmaster If we just open it up we can go ahead and make a very
slight alteration where I'm going to import my moss gradient over here. And with the moss gradient
SGB default, that's fine. Let's import this. Right
click, convert the perimeter. Color texture. And then
in our base color, we basically want to create
a static switch parameter, and we will call this
one H base color. Now, later on we can also
add some translucency, if we may want that, but it
depends how things look. So for now, we are going
to go ahead and say, I has base color is false,
it will become a color. If it is true, it will
become this color. Then lastly, I also
want to go ahead and do another duplicate
your scale parameter and just call this color. Olay and do a simple multiply to multiply these two together just to give us a
bit more options. And make sure to make
the color overlay white. There we go. Let
you do the trick. So we can go ahead
and save this. The default is still set to
off, which is important. And now we can go ahead and
just create our material. So over here we have a Master, right click Create
material instance. Ms underscore 01, drag this
into our materials folder. And in Ms 01, I just want to
go ahead and has base color, turn it on, save our scene. And then if we go
to our assets and just open up our Ms 01, we can now go in
and just drag in our correct material
in here. And safe. Okay, awesome. So
we have moss 01. I do want to go ahead and create some variation, but
I will first of all, go ahead and show you the
concept of using this moss. So let's save scene
and basically, we are going to use
an external plugin in order to place this moss. The plug in it is
called graph N, and it has to be made
by polygon tools. This is a pay plug in, however, but you are able to get a free trial as far
as I can remember. So over here, it is
really good for placing, well, moss, like
you can see here, but also placing a bunch of other procedural
generated stuff, scattering things around here you can see, it's
really non destructive. You can really quickly create, like, a bunch of different, like, trash and all
that kind of stuff, like really cool stuff. And it's really
easy to use also. So yeah, 30 day free try. So you guys can also use it, and it is also quite cheap to use, like, as an individual. You can just go
through the process of downloading this
once you get it, and then you can go ahead and
just install it for Unreal. It will automatically install. I of course already have it installed, so I can go in here. I can go to Edit and plug ins. And what I want to do
is if I just go to Installed over here in other, I want to make sure
that the graph and Unreal plugin is activated. So that's the one that I need. Now, there's one last
thing that we need, and that's that we
need the actual moss mask that we
have over here. For that, what we can do, probably the easiest way
because this moss mask now, it is, it is hidden
inside an RGBA texture. However, graph N just
needs a simple bitmap. We can probably go to
file expert textures. In our output template, we can create another texture
set which is just like a RGB texture and just
call it texture set. Once Mosce mask one
will have user four. Like that. So now we are also just exporting the
moss mask separately. So we should be able
to press export. And then if I just go ahead
and navigate to my stair, Yeah, that has exported, so you can see it over here. It should be fine to
have it as a TGA. Here's our mos mask. Now we can go ahead
and get started. If we go inside of unwel what we want to do
is we want to go ahead, you want to place
our moss in here. You can also get rid of this. You want to make sure that
your moss is all the way at 000 by just pressing this reset icon. That
is quite important. Next, what you want to do
is you want to go ahead, you want to open up
the graph tools. In here, you want
to type in scatter. The one that you
want to do is you want to get the surface scatter, 2.0 0.0 and just open it up, and then we get
this little graph. Now, next, we need two things. We need to tell the system
what do we want to scatter on, which in this case is going
to be these 4 stones. Just select them and
press the plus button. And it also asks us what
do we want to scatter, which is going to be our moss. You can imagine that later on, we can also use this, for example, to scatter
leaves and stuff like that. It's going to be really cool and really powerful tool also. So our moss is God,
where are you? Geo moss over here and that's going to be plus to scatter it. As soon as we do
that, you can see that it's already starting
to scatter over here. Now, right now, it doesn't
really know where to scatter. I want to make sure
anit Nanite is on. If we do this without Nanite on, you will not
have a fun time. But basically, so
we have this one. Now what we can do is we can
go ahead and first of all, we can set the minimum
and maximum scale. That's an important one. Let's set the minimum to 0.2. That's going to be
minimum and let's set the maximum to maybe like 0.3. This way, we have, maybe
a little bit bigger, just because when we are
looking at it from a distance, it would be nice if
it's slightly bigger. Let's do 0.25 to 0.4. Yeah, that might
be a bit better. Now, you can go over here and you can
control your density. You can click on these buttons here and you can make
this more or less, as you can see, now it's set, for example, all the way to one. Now, next to this, what we can also do is we can also actually set our mask and that's
the more important one. There's a bunch
of features here, you can also set angles. In the feature mask, you can control and say if
something has an angle, at a specific amount, you can see over here that
it like respects that angle. So you can do some
directional stuff like this, which is really, really nice. Set back to 180. And you have parameters for,
like, random rotations, but I believe that
they are already, we already have random
angles turned on because you can control
that somewhere here. Here I turn this off, you
can see that everything goes into the same direction, and
we don't really want that. We have a scale properties. Here we can various different
amounts of scaling, but we are already doing an
overall scaling in here, which is fine. Let's
see what else? Noise mask. Your noise
mask, basically, if we turn it on,
you can see that it just randomly removes pieces. I mean, could be handy
if you want to use it. I myself, however, am more interested in the texture
masking over here. These are all different
types of masking. The proximity masking, it
allows you to basically mask out areas if a
model is really close. So if I say like that, keep the moss away from one
of these stair steps. It will keep the moss away from those stairs steps and we
can control how far away. Anyway, the one that I'm more interested in is
the texture masking. In here, you can go
ahead and you can click on Browse to go
to the texture part. And we are going to go
ahead and navigate. That's unfortunate. It does request a JPEG file. I was a bit worried about that, so let's just quickly open up our Ms mask and just save a copy and just save
it quickly as a JPEG. The reason why that's a
little bit annoying is because if we are ever going
to change this mos mask, we need to keep updating it. But for the rest, it's fine. Anyway, now we have the JPEG
file and we can press Open. Now what you can
see is right away, it is only placing the moss
on the white areas over here. And yeah, that's
pretty much like, keep the texture
tiling like this. But that's the more
important thing. If we go ahead and
now if we go in our let's have a look over here. We have, like, some fall
off, which we can use. Okay, I guess the fall off.
Is not really working? Huh. One Fair enough. They're not. Then we don't
have a fall off, I guess. Then we are going
to focus first on our misk settings over here, because right now, so we have this moss and I don't
know why it's slow. Might be because we're
in scattering mode. It's just not enough moss.
Like we want a lot more. Over here, we have a max count, and we can actually set
like a higher count. So if I set this to like 60,000, now we are starting to get a lot more different
moss over here. Let's say interesting areas. I do want to maybe it's
like an edge breakup. Let's try oh, yeah,
here an edge breaker. That's where we can
control the fall off a little bit and
basically have the moss extend more out
over our texture. Here, we also have
border spread. And I believe if
I do this, here, see you can kind of play around with this to increase the amount of moss that we have. Now, let me just let me say
and set this to like 0.4, and that's at the
border distance. I'm basically wanting to arts
like a little bit because sometimes we have
like these really thin spots in between our mask, and I just want to go
ahead and art that. Okay, so let's say that
we have this right now. Up close, it's
looking quite nice. It's more like what it will
also look like for afar. And the first thing, especially when we have good
lighting like this, you can see it looks
really nice and fuzzy. But what I'm more interested
in is I just want to go ahead and scaling, scaling 0.5. By 0.3, maybe. To make it a little bit thicker because I'm trying
to find a balance between our between the scale and the amount of
assets that we have. If we increase the scale, we can also even go in
here and you say, 50,000. But what you also
need to remember is that this little bit of
moss over here right now, can easily be like I don't know, 100 million polygons, something
like that, or 50 million. Basically, if you
go over here to your where are you anite
visualization and triangles. You can see that over here,
it is rendering all of those triangles using our Nanite we also already have
a really dense mesh. We are definitely
pushing the system, but I wanted to show you
because it's also really fun. Anyway, let's say that
this is our base. Now, what I'm going
to do is I'm going to go ahead and actually, I can just close
this, I believe. Yes, I can close this. And then if you ever
want to go back to it, you can go in here and you
can click on it again, although one sec because
it doesn't show like it's delete this instance. Okay, there we go.
That's. I'm just going to call this name
because Elsa cannot find it. Ms underscore. Stare. And if I close this. Okay, now we are
able to find it. I just press the wrong button. So basically, if you go up here, it will remember the
stuff that you did. You have your musket and
you can add edits to it. One of the edits that
I want is that right now the colors are all the same. I want to go ahead and
give it a little bit of variation in
between the colors, and we can do this with
probably two or three models. Unfortunately, the way that this tool reads the models is that you cannot just
change the materials. You need to change
the entire model. So here we have our Goms 01. I need to right
click and duplicate it just to change the materials.
Let's say two and three. I can then go in and I can go
in my materials over here, Ms 01, duplicated and
duplicate it again. So we have Ms 02, and
let's make that one, for example, a little
bit more like darker. And let's say that
we have Ms 03, and let's make this
one, a bit more darker. And then maybe a little bit more like yellow, for example. Don't worry. We are going
to balance all of this out. Now, once you're
happy with this, what you can do is
you can go ahead. Just want to check my FPS. Okay, yeah, I'm
capping at 60 FPS, so that's strange that it felt sometimes a little bit laggy, but that should be fine. So we open up Ms 02 and Ms 03, and we basically apply our
New materials over here. And then we can save as. So now you guessed it, we
can just go in here. We can mos 02, reset to zero, mos
03, reset to zero. Now at this point, if I just go back to my scatter
tool over here, I am able to basically
in our scatter objects, select two and three
and just press plus to the scatter objects. Now, once you do that, maybe you need to press this
button over here, but it should come on. Do you render. It's a
bit difficult to see. Let's try and
change the material to see if it actually worked. Okay, yeah, here, a taxi worked. It was just too subtle. So now you can see
that it's just like randomizing these
taxis over here. Now, what I'm going to do
just to make my life a bit easier is I'm going
to grab my moss gradient. And I'm going to saturate
it a little bit. Maybe like 0.7 or something to make it
a little bit grayer. Because what I can then
do is I can go ahead and go inside my materials, and I can say, like, of course, we need to balance this later
on when we do our lighting. But let's say number one is
going to be a little bit, just like a little bit
green, something like this. Number two, we can make
quite a bit darker, maybe a little bit
more yellowish. Maybe not too much, but
something like this. And then number three,
we can go ahead and once again, Let's see. Make this one maybe a little bit more saturated like that. And doing that stuff,
you can see that now we can create slight bits
of variation in here, which is going to look
quite interesting. I'm going to make this one a little bit like this over here, and that should do the trick. Let's have a look. So if I
go ahead and go in here. Also we also need to, definitely
work on the lighting. But in general, I think
that is looking fine. We can try. I don't know if it will work,
but I can show you we can try to do some very simple
subsurface scattering. So you can see here
I can just close my engraph and it's
like an instance. I can even turn it on
and off quite quickly. What I also feel like
is that right now, because our bottom moss
is so much darker, we definitely need to
balance things out, and it's up to us to decide what kind of
moss we want to create. But before we do that,
I want to quickly go into my plain
master over here. And let's go in
here and let's say, let's turn off two sided for now because it's better to
render this not two sided because two
sided sometimes gets goes broken
when we use lumen. And then for the shading model, we can try to go for Subsurface. No, I think probably the
wait subsurface. Sorry. Subsurface is fine. That's
because we don't need two sided foliage since we are using this also
for other pieces. What we can do with
subsurface is we can go ahead and just create a well, just duplicate this contentr vector and call this subocclor. Make this color, for example, a little bit more
of green color. Then we want to
multiply this color. Using a value scale a peremter and call this
sub on the score amount. And make the default zero. Then we can just
go ahead and throw this into our
subsurface scholar. With default zero means that it will not give us any subsurface. But if we hire that amount, it should give us a little
bit of subsurface scattering, which means basically for people who don't
know what it is, it makes it so that
the sun shines through these assets to mimic the effect as if they
are not very thick, as if they are very
thin geometry. I can now go in here. And
let's say that I grab my most 01 to get started
with just to see if it works. We can go ahead. And here you can see, if I
push up the subsurface amount, you can see that the sun
shines a bit through it. The question is, is it
going to look nice? So if we make this a little bit more like a yellowish color, over here, and then play around with the
subsurface amount. Yeah, it does look like because
it will look a little bit softer in the sun compared to
having really high shadows, especially if we do this, here you can see that no
matter what angle, you can see that it
looks a lot softer. So what we want to do is we probably want
to go ahead and go for a slightly stronger
angle, maybe like 0.1, then make our subsurface
color a little bit more probably a little bit more darker and then
make our color overlay. Bit more darker to push it out again or to push it in again. So let's say that we
have these values, we are going to copy those
over to the other ones. So I can go ahead
and 0.10 0.1, 0.1. And also, by the way, I can also play around with
my roughnesR now, my roughness is quite low. And I was going to
just copy the SRGB of my subclor and place that. Okay, cool. So now that's already here. See now from different angles, it reads a little bit
better, which is nice. The next thing that
we're going to do is we are going to
actually decide like, Okay, how much what color do
we really want this to be? Like, do we want this to be like a bright colorful color or do we want it to be a bit
more of a grimy color? And I personally really like like this type of
color over here. So like a little bit
dark green color. Now, most likely, I'm afraid that we cannot
do a color picker because that never works in real to color pick outside
of other images. Oh, wow, of course,
now it works. We can just do that
in the color picker. I guess, normally
doesn't really work, but let's start with
something like this. And yeah, it's not
really awkward, so let's just go ahead
and move it a bit. You know what I'm going to do
is I'm going to on purpose, make the other moss red. And the reason I want
to do that is so that I can actually see what I'm doing. So if this is red, then I know, like over here, like, okay, this is going to be
a bit of a here. Funny enough, this
actually looks quite cool. But let's say that something like this is probably a good starting point,
don't you think? I know that you
guys won't answer, but let's try
something like this. Let's go ahead and go to
the next moss over here. Paste in this amount, and now this one we are going to go ahead and make
it a little bit darker and maybe a little
bit more greener this one. Then the next one we can
also paste in the amount and make this one maybe a little bit lighter and
a bit more yellowish. Yeah, I feel like that's quite a neutral moss
color, which quite good. If we now just quickly go to our original stair over here, we can now go in and, of course, balance out the
base moss also on here. It looks like that our
base moss over here, it's already fine,
so we need to, like, go into our moss base color
and change things in here. So right now, let's set the
brightness maybe to like 1.5. Maybe now go into our stair one and make
the most color like slightly more Green, like that. And another thing
that we can do is we can go to our moss, Moss tiling, moss
mask over here. And we can, like, try
and see if we can, like, push out the moss a little
bit above or over the rest. Just because that looks
a little bit nicer. But this is also why we didn't really have to worry
too much about what the moss looks like
because you can see that it feels a lot
more organic right now. Awesome. I would say
that this is about it, to show you the logics between how we are going
to do this kind of stuff. And just like that, later on, what we would do is we
would go to your ngraph. We would go to our
scatter objects for moss. We will basically
go ahead and select all of the objects that we
want to use for scattering, so it's going to
be all of these. And because our texture is
still going to be the same, it's simply a matter of pressing this button over here
and giving it a second. And next, most likely, what will happen is,
yes, because, of course, now we are scattering
over a much larger area, we will need to
set the max count. Let's set this one
to, like, 150,000, for example. Okay,
that's way too much. Sorry. Let's do 80,000. Oh, wait, I think I did
1.5 million. That's why. 150,000. Yeah,
that's looking good. And now you can see
that over here here. We are still running fast. That's always amazing to me. So now you can see
that over here. We are starting to
get like the moss. Maybe go a bit higher
because we can push this with Nanite
so let's do 200,000. There we go. See? And now all of our
moss is scattled. So we can do some really
fun stuff with this. We can also place jom tree
leaves and everything around. But that is the general idea
for this kind of stuff. If we go to our camera angle, you can see here that the
moss reads really nicely, especially once we will
have proper lighting. I will look so cool. Wow. That was a big
chapter, don't you think? So yeah, a bit longer, but we got some base moss. At this point, we
cannot really do much more balancing because
we simply need to see what it will look like later on when we have proper lighting. But if you look at
it from the side, it looks really nice.
So I really like that. And yeah, Fres we also need to balance out our stone a bit, but that's all going
to come later. I first am going to start
with the base elements. So having this done, what we'll do in the next
chapter is we will go ahead and get started by creating over here these pieces. And I will basically
show you the concept of how to use displacement, sort of real time inside of Unreal engine using a new tool, and we can use that to, like, place these base walls, and then the rest will just
become I think stone with, like, ground in it or something
like that, but we'll see. So let's go ahead and continue with this in our next chapter.
45. 45 Creating Walls With Displacement Part1: Okay, so we're now going
to work on the next step, which is going to be all of
these platforms over here. And in the beginning, I was thinking like,
Okay, you know what? Let's do this in
a modular fashion and just have one platform that we can repeat
over and over again. However, for this
specific environment, that would not be as handy. The reason for that is because if we are going to
use displacement, whenever we transition over
from one platform to another, because of the
displacement, it would just start clipping
into each other, and that will not
look very nice. So instead, we're going to
split up into two pieces. We are going to make
the individual walls. And those are going to have
our displacement on it. And then what we're
going to have is we are going to have a top piece, which is going to
be a trim piece. And then depending on that, we are going to have a
plane in between, which is going to be a
simple floor material or it's going to be
a sand material. For the floor and sand material, I'm going to go ahead and
I'm simply going to use some photogram tree that
I created a while back. We are working on a
photogram try course, by the way, which is going
to be a super detailed one, but it will take probably one, maybe even two months
after this course releases before that
one will be done. So just keep that in
mind. But we have a course on how to create
photogram tree for, like, materials and stuff. It's called the Ultimate
material creation course. So you can find it on a profile if you want to know
more about that. But we are doing it in
the sake of saving time. So let's say that let's
grab this while over here. So yes, this is a
unique technique, which means that it is a little bit more destructive to use. But for the rest, if you know what your environment
is going to look like, it is also quite easy to use. And we are also able to
edit it quite easily. So the first thing that we need to do is we need to go ahead and we want to go ahead and
grab a rectangle over here, and poly group mode Actually, no, sorry, cancel that. We are going to
grab a box because editing rectangles
is such a pain. So we're going to grab a box, and let's set it
quite low to ten. Oh, not that one.
100. Is it the width? Ten? Huh? Okay, I guess
it's the height that is? That's weird. Okay, so the
height needs to be ten, and we can just grab
and plus except. Now, at this point, our goal is to basically
push this back in. And to then start using the added poly to
place this all around. And we're going to kind
of stop it over here, and then there will be a trim that we will create later on. But we will create the
trim as a time laps. At the same time we create
this trim over here. It will be very similar
to our brick walls, just like a little bit
more neater placed. I'm going to go ahead and
probably wait, Muzak, accept. Let's select our foliage here and just press
H to hide it. There we go. Now let's go
back into our modding mode. That makes things a
little bit easier to see. This one, I'm going
to just push it down. This does not have to be super perfect or
something like that. You just want to place it to the point where it stops,
which is going to be here. I'm going to just create
a new mesh over here because I don't want to
risk having the stone sticking out through the stairs. So we're going to go up here. And I'm going to just like
place this over here. And then what I will
do is I will go ahead and I will do like
an insert edge loop. Place, like a thin little edge
loop here and press done. And I'm going to select like
this one edge if I can. There we go. And I'm just going to go ahead
and exclude that. Over here. And if you want, you can do the same
over here, however, because we are making something that is specific
to this camera view, you should not be
able to even see. You'll see you are not even
close to seeing that corner. Okay, so once we have done that, what we want to do
is we want to go ahead and select the faces, which are going to be
these faces over here. Then we want to go
ahead and we can just invert our selection, which I believe we can do
with If we just go up here, where are you? I am blind. Oh, you're invert selection.
Yeah, I was blind. And then I'm just
going to delete it so that we now end up with a plane. Now, there's one more important
thing that we need to do, and that is that
we need to apply some proper UVs to this
for our displacement. So for this, we can
scroll down over here. And often the outer UV is fine. Like, often that
works pretty well, and it just makes it
square nicely like this. So that should already be it. Like yeah, that should be it, because we should
be able to tile IUVs later on using
our material. So let's say that we now
have this piece done. The next thing that we're
going to do is we are just going to go ahead
and get started by going into our textures and
create a new folder and we'll call this stone
underscore wall. Now, as I said before,
doing it this way, there are a few more
hustles because also things like what
we have over here, we can use this material. However, all of the dirt masking
and everything like that, we are not necessarily
able to do that on these kind of
really large pieces. However, we can
simply use decals. And, of course, the moss we
can still apply on here, however, we can
just do the moss. We can apply the moss in a different technique
because we should be able the moss should be able
to read the displacement and place moss based
on our displacement. So we have our techniques
to make it look cool. So we don't have to
worry about it too much. It's actually good that I
show you this way. Stonewall. And for our stonewall, we also still have
the old textures. So what we need to do
is we need to just go ahead and open up
substance designer. Here we go. So here is
our stone wall texture, and I just need to quickly
check if we go into our stair. Theis array, and this one
was R GAO and roughness. Yes. Now I remember. Let's go ahead and go over here. It's still loading for a second, so just give the
second to render. Unfortunately, I cannot move my mouse while it's rendering. Which meant that I
was not able to, like, turn off my screen. So, okay, so we
have RG let's see. Let's do an Alpha
merge for this one, and then RGBA merge
for the second one. If we go to our output, we can probably
actually duplicate our base color and
let's just call this I don't know. Let's call this underscore
On wheel engine underscore, Base Color, I think that's
the best thing I can do. So we have a base color, and then if we just
also do an output, see, we can just
select this one. And just call this one
UnwelEngine underscore normal. And don't forget to also copy
this to your label name. So we're now just
properly sorting. So for this, we have
our RGB and for Alpha, we want to have a uniform color, and this one is going
to be was it black? I really forgot. I believe it was black for
concrete and else we have changed to enough if
I make that mistake. Then for this one, we have a R and we have RG. So if we just do an
RGB split over here, we can plug in our normal
into our RGBA split. Then we have a red
and green going here. Our blue channel was going to be the ambient occlusion over here. And our Alpha channel was
going to be our roughness, if you want to
control over here. So should take care of
these two maps over here, which is fine. So now what we can do is we
can just export this stuff, and I'm just going to turn
off automatic export just to make my life a bit easier,
and I can export this. If you want, you can export
it as a target file, but I'm already
exporting it as a PNG, so doesn't really matter. Now, if we go ahead
and just go in here, we can, first of all,
set up our materials. We have stonewall and we can just drag in those two that we just exported over here. Double check your work. Alpha check feels a little
bit low resolution, actually. At four k even. That's weird. That's
something that we might want to have
a look at to see if we need to apply some
additional sharpening to it. And also, just double checking. Okay, so SRGB needs
to be turned on. I thought I did something wrong. Oh, wait, it's
because it's a PNG, and the P&G is
exported as 16 bits. That's what's causing
this problem. So, in that case, what I'm going to do is
I'm just going to go ahead and I'm going
to export again. But this time just export
as a daga file because then it should be automatically
converted to eight bits. Let's try that one Export. And we can just actually, we can also force it
eight bits, if you want. You can go over here and just
set this to be an absolute. And then it becomes eight bits. Absolute eight bits over
here too. There we go. That's how we can
just very quickly force something you will
be export this eight bits. Now if we go to our Stonewall, we can quickly delete these, force delete, and we can just quickly drag in
the new ones in here. SRGB default, norm map is still set to default and the SRGB needs to be turned
off as far as I can remember. Yes, it needs to be turned off. So those are also
already now correct. Now, if we go ahead and
just go to our materials, we can grab our Sir one
and just duplicate it. And just call this
one, all Sorry. Stone Wall tilable. And now, there are some alterations that we
do need to make, and that is that we
need to turn off this mask over here because we're not going
to use this mask. So first of all,
what you want to do is let's just go
ahead and drag in our correct textures, Stonewall. So those should still be totally fine. Everything
should work for that. Over here. And then next thing that I'm going to do
is I'm going to go ahead and just double click on my Oh, no, that's annoying. Remember, we cannot do a flip
green channel, so we need to go in here. And we need to do invert. Gray scale on the green, and
then you can just dock it. And that should fix that arrow. So just export this again. So that's just like the only
annoying thing about this. Like, I'm so used to just flipping the green
channel in reel. But there we go.
Now, next thing I was going to do is I was going
to go to my asset master. And let's just turn this off. And in our asset master, we basically want to go
ahead and give an option to turn off all of our masks. So for that, let's see. If we want to turn it off, we want to keep only this stuff. And now, what you can do is you can just go ahead and create a static switch parameter. Are you going to call this
has? What's it called? DHH DRM score mask. I will set the default value to true just by taking it on. Then over here, we can go ahead and just move this
for every single one. One, two, three, and we are
not editing our embitclusion. So if true, it will just continue on with the
lobs like normal. You can plug those in. Oh, it's giving arrow because I did
not enter the false yet. And I false, we want to go
ahead and just skip all of those loops by grabbing this
specific one over here. And this one is going to be
like this normal over here. There we go. So now we can very easily, just
turn it on and off. And because it all
has the same name, all of these switches will
be automatically turned off. So I can now go, for example, in here, has DHRM and
just turn it off, and you can see all of those
values will get removed, and we still have this
piece over here left. With everything else still
looking totally fine. So we can go ahead and at
this point, we can save this. And if you want,
you can already Oh, hey, we need to
add tiling, also. We need to add that over here. So let's go ahead and create
a S, can I steal that? I'm just gonna steal
this one over here? Let's go ahead and call this
one dialing should be fine. And let's set the
default to one, and just plug these
into UVs like normal. There we go. Because I was so focused on the unique textures of the stair that I forgot that we are not going to create
a unique texture for these specific ones just to
make our lives a bit easier. So anyway, for these functions, this is a normal model. You can open it up over here. And although it is in
a weird direction, you are able to
enable Nanite sorry. And you are able to
go to materials, and let's just drag this on
just to see what it looks like over here and safe. Now as you can see,
our UVs right now, they are really,
really, really large. So I'm going to first of all, see what this looks
like if I just tie it. Let's say, like
eight, seven maybe. Six maybe. You want to look at it from a
different perspective. So if I go over here, six, I think maybe seven is
a good tiling feature. And yeah, I think the wall is in general
looking quite cool. The next thing that we're going to do is we are going to go ahead and start applying the
actual displacement to this. The first thing that
we need to do is we need to go ahead and
import our height map, so we can just go ahead
and import that one. Another thing that I completely forgot is that unfortunately, Unreal has not yet made a
system that you can actually control the tiling of
your displacement itself. They used to have that system inside of
the modeling tools. However, right now,
quite easy, basically. So I know that we are at this tiling, which
is still fine. All we need to do is we just need to set the
tiling back to one. And instead, we need
to have a tiling inside of actual UVs. That will just save
you a lot of hassle. So if we just go to our
modeling tools and just scroll down back to
our UVs over here, and all you have to
do is just quickly go to your layout tab, and then just over here
we have our scale. If we set this one to seven, you can see that now
it's just tiding UVs normally. So that's it. We can just go ahead
and press Accept and that's just a new way for us because now when we do that, if we go to our you
know, if we have a look, if we go to our box,
there is in 5.2, make sure that you are on 5.2. In 5.1, you will
still need to use the old technique which is more destructive where you need to
go to your modeling tools, and in here, you
would need to art. There's a displace over here. You would need to art
displacement here. But luckily, they made it a bit more nondestructive in 5.2, where we can press the
plus on displacement maps. We can then go ahead
and find the texture, and we can just drag in
our height map over here. And there's a few things that
you need to do by default. Set the fallback error to zero, just to make sure that it
does not produce any errors. Any trim relative error to 0.05. These are just two values
where it avoids any errors, but most time those errors don't happen in the first place. Then if we set the magnitude to 20 or something
and press Apply, it will now Oh,
that's way too much. You can see that now it
will add displacement, and it actually adds
so much geometry. To this, it makes
sure that we always have enough displacement on
it, which is really nice. Although you cannot
really see it. It doesn't really have
that preview mode yet. Let's go for ten. Apply Jesus. This is also one of the reasons why I was
talking about that we need to have a trim on
top because what it does is it always pushes
our mesh out a bit. I don't know. I've
never tried it, but we can say 0.5 in the
center to push it back. But it looks like that that
does not seem to work. Sometimes that pushes things back because we change
the center bound. Oh, yeah, here, we do. You can see that I can push it back. One to 0.5 maybe. Just to push it a
bit more into place, and I would need to
go in here and just hide temporarily these pieces. But the key goal is that
if we go to our camera, we want to make
sure that this over here that we can actually
see a bit of displacement. I want to make it a
bit stronger and it's really nice how it also works
on the corners quite well. Let's set the magnitude to, um maybe let's tw 15 apply. Yeah, let's do 15. So now you can see
that now we have this quite strong but
quite cool looking wall over here that also is working
quite well on the corners. You can still see
over here that it breaks a little
bit on the corner. And what we can do with
that is, I believe, I don't think if we go
into modeling tools, like it has applied
the displacement. So if I go into my
modeling tools, yeah, here see, it will not accept it. But if I just temporarily
get rid of my displacement, so just remember 15. So let's go ahead and delete
this and press Apply. I should be able to now select it and more
easily go in here. And, oh, wow, I completely
forgot that I did it this way. I will need to
change my UVs bit, but if I just go ahead
and move this out a bit more and then move this one a bit in to give a
bit of a rounding like this. That often works a bit better. Of course, now I need to
just go into my Outer UV. That's looking correct if I
press Accept and then go into layout and just press except again because it
remembers my settings. Now if I go in and once again, I wish I can just temporarily
turn it on and off 15.5. Apply. Okay, over here. See, now that looks a
little bit better now that it's a bit more rounder
and it is less buggy. I actually feel like 15
is now too strong almost. I thought we did 15, Mt. That's to 13. There we go. Okay. So basically, this
is a good way for us to create also really nice
corners that work really well. At this point, we would now
need to just create something on the top to cut it off,
but that's about it. So if I go ahead and
cultural age, of course, now, that will not
look very nice. Um, but you can just temporarily
hide it if you want, just to look at it
from a distance. But it is reading really well. Like the wall it's looking
nice and high quality. We definitely need to balance
out the colors a bit, and we're going to add some additional decaals
and moss and stuff, but it's getting there.
So that's pretty much it. Now, what I will do
is I will just go ahead and kick in the
time laps and I will go ahead and replace all of
these walls with these type of meshes just to make
it look nice and clean. So let's go ahead and continue with that
in our next chapter.
46. 46 Creating Walls With Displacement Part2 Timelapse: I I.
47. 47 Creating Our Trims Part1: Okay, so I have placed
all of our stone walls, and it was not too difficult, as you can see this one, I
literally just duplicate here. A, these two over
here are just unique. But sometimes it's
totally fine to have unique assets that are quite
large inside of your scene. It all just depends on what
scene you want to create. So what I want to do is
basically we now need to create both over here
for these stairs, some pieces, which
can also transition, although this one over here, we can probably just,
like, use these stones. And we need to create a trim
that basically separates these wall stones over here from whatever we are going
to place inside of it, whatever is going to be flat. So let me just, you
know and by the way, I just press Control H
and then just Control Z. So I had a little
thing of camera. And what I want to do is I want to go ahead and
go for something that's a little bit more
man made for these trims, and I want to be able
to make it like a kit, like one of these, which by
the way, I do need to check. They are shorter, yes. However, when I see this, if I just make one of these, I should be able to
still use it and just, like, sink it into
the ground like this. Yeah, see that should
work quite fine. So basically, we are going
to make one of these, and then we are also
going to make a piece that's just like a
simple straight piece. And in terms of the material, I want to go for something
probably like this over here. Just like a bit more of
a granite type material. Now, we don't really
need to create an entire tilable
texture for this. The reason I made
the tilable texture was for the main materials, like the most important ones where we needed a
lot of control. However, for a small
granite texture like this, we can simply go and
inside a subspainter, we can download a
granite texture and use that or maybe there is already
an existing one in there. So that's currently the plan. Now, for these two pieces,
I will sculpt them. So I will like a little bit of sculpting and all
that kind of stuff. The straight piece will
just become modular. So it will simply be
like a straight piece that's probably one by 1
meter or something like that. However, because this is all stuff that we
already have covered, I'm just going to go
ahead and I'm going to Tinbs all of that, and also time maps like
the placement of it. So let's go ahead and kick
in Tilaps and just quickly, like, finish off these
additional supporting assets. H Mm. I can things like that. Things like that. Things like that.
48. 48 Creating Our Trims Part2 Timelapse: A D. D. D. D. D. D. D the Mm. Thanks my
49. 49 Creating Our Trims Part3 Timelapse: [No Speech]
50. 50 Placing Our Pavement Planes: Okay, so things are starting
to already look pretty cool. We are starting to get like these nice stones
and everything, and the displacement really
makes a big difference. Also, the sculpting
makes a big difference, especially from, like,
a distance over here. If we didn't sculpt,
we wouldn't get all of these nice highlights
where the edges, like, or where the light just catches on the edges
and stuff like that. I do feel like things
are a little bit too dark just in general. This is something it's
the way that I check it, it's a little bit more
based on experience. I often go to my buffer
visualization and base color. And in general, your base
colors should be pretty bright. So often what you can do is you can make one of
them, pretty bright. So right now, like these ones are even,
which pretty good, but I would have them a
little bit brighter and then I would basically balance
everything on that. However, what I'm first
going to do is over here, I have already
placed in the time labs our floors and
stuff like that. Although, of course, over here, we just kind of like quit. But what I want to do, and I just noticed that there's one more thing
that I need to do. I want to go ahead and I want
to apply texture to this. First of all, I just need to
quickly give me 1 second, select this stuff, everything that you can see, and
just remove the rest. So invert selection and delete. And I should have already
done that with this one or not? Yes, I did. Okay. So basically,
I have this texture, and what I will do is I
will load it already into substance designer
because I need it. I place it into a
follicle pavement, and this is just a
photogramr texture that I, that's weird. View. If I feel like
something is broken here, let's just quickly input
it and double check. But basically, these textures, I just use
Photogrumtre for them. So I simply just scanned
these textures and yeah, Okay, so they are
looking correct. They are eight K
resolution right now, which is a little bit too much, so we definitely
also want to lower that down before importing. But what I'm going
to do for now is I'm just going to go ahead and
I'm going to just, like, link my resources or
you can import them and just link and art everything
into substance designer. Here we go. I don't
know why I have so much trouble
speaking all of a sudden, sorry about that. Let's turn high to Grayscale. This is the AO to grayscale
and the roughness, also to Grayscal over here. Now we can go ahead
and we can d them. And we, of course, need to art them using the unreal method, which is going to
be, to be honest, I kind of forgot what if the base color
had to be black or white, the base color had to be
black for our stones. If we just go ahead
and go in here, we can do an RGB and
just do an Alpha merge, and we will have our base color. Then in the alpha,
we are going to have just a black color. That can be a uniform
color. Over here. Now the next thing that
I'm going to do is, oh, yeah, I already
removed off my outputs. The next thing that I'm going to do is I'm just going
to go ahead and I'm going to set this
one to minus one, which means that it
will be forced to become four K resolution
because these ones, they are imported
and it shows four K, but they are actually
eight K. Here. You can see that it reads as eight K resolution over here. So I'm just forcing
it to make sure that it is only four
K. And this one can become in an output that
we call just base color. Now we need an R GB
A merge over here. And because this is going
to be the norm map, we need to also have
an RGB, a split. So we plug in the norm map, red channel, green channel, the blue channel was
an ambit oclusion and the Alpha channel was
our roughness over here. Once again, minus one to
force it to be that color. And also, I just need
to double check, and it looks like that this norm map is
already properly inverted, so we don't need to
invert the green channel. So let's go ahead
and do an output. And just call this normal. Okay, cool. So that's pretty
much like the conversion. And then what I will also
do is I also will add a transform and then plug in my height into the transform. And for this height, I'm
well, actually, first of all, I'm going to force my
height to be like 16 bits. And I'm going to also set this one to minus one over here. And that's just the only
reason I'm using a transform so that I can just
have this switch, and it's going to be
the final output. Which is going to be
height. Okay, cool. Now, it's just a matter
of going to pavement. Maybe create a folder
called unwelEngine. First of all, let's
also save scene. So textures, pavement, um,
I could just save it here. Right click Export, as Bitmap, select your nualEengine folder. And yeah, target file is fine. Our height because this
height is really minimal. It should not really
cause any errors, but if it does, then
we can just change it. But I'm just talking
about eight bits. Like the height
will be eight bits, but only for really
dramatic heights, do you need to go for 16 bits? That's why often Mega
Scantexs are also still JPEG, even when they are height
maps. Can I go in here. Make a follicle
pavement score 01. Just drag these pieces in
here and double check them. We have our, that
one is correct. We have our norm map
which is going to be no map is not correct. Oh, wait, that's because
it's set to normal. Let's make sure to set it to default and save. That's better. We have a normal
then we have over here our emit occlusion and over here we
have our roughness. So those are also all
correct. Sorry about that. That noise was my microphone
stand for some reason. Now, next thing that I'm
going to do is I'm just going to go ahead and
create a material and we can probably just use
the stone wall tile wall and duplicate it
and just call this one Pavement underscore
01 on the square till, open it up, drag in our pavement base color and our pavement normal over here. And let's just go ahead and save that should do the trick. And now if we just go in here, you guessed it, we are
going to generate some UV. So first of all, outer UV. Excuse me, OV. Thank you. And then over here,
I also want to go ahead and do also an ter UV. And now what I'm going to do is I'm just going to
select both of these, go to material and just apply my pavement material on here. Here, see, photogram tree
is always looking great, especially with all of
the noise already on it. Although for the
pavement, theoretically, we could actually also add
a ground normal and have a difference in our textures
wherever we have dirt. However, right now we are looking at things
really, really large. So, of course,
let's just go ahead and lower it and see
what that looks. So if we go to select both
of these and go to layout, we can go ahead and see
eight to Much seven, maybe six, and we definitely
also need to, like, add a bunch of moss and stuff
like that on top of this because right now it is all
a little bit too clean. But let's just go ahead
and press accept. Let's see. Now, that's too big. I need to go six to seven. So this one, because it's
seven, this one is smaller. So this one over here
has to become six. Because the top plane, it's just like a larger plane. That's why it looks
a bit larger. Next, I'm just going to
go ahead and I'm going to go to my pavement. And first of all, let's just
go ahead and make this one a little bit more orange, just to balance out some of
that really white light. And then for the rest, we will have a pass where
we are going to, like, of course, improve this. For now, this is fine, especially
from our default angle. You cannot even see
it, so that's why I didn't want to spend
too much time on it. But I am going to create angles like this close ups and stuff, so it does need to
look really nice. So for now, let's just go ahead and leave this,
and then later on, we are going to have a pass
where we are going to, like, art, moss and all that
kind of stuff around here. I am going to, of
course, displace this. That would always be nice. So I'm just going
to open this up. And don't worry. We are going to also clean up our project. So just something to keep
in mind that I'm not like just leaving these all into the Booleans folders
and stuff like that. I want to go ahead
and enable Nanite um 0.05 for my relative trim and zero for my fallback error. I can just go ahead and press apply Nabonanit 0.050 apply. Now it's just a matter of applying our
displacement map over here for which I'm going to grab my pavement
and the height map. Let's start with
0.5 and just press Apply again. Oh, wait. Let's also make sure
that it actually has our pavement in here. Okay, so let's have a look.
So we have our displacement. 0.5 doesn't seem to do much if I just go for five and apply. Ah, still not a lot.
That's interesting. 15 maybe? You are actually too low resolution. That is interesting.
Because as you can see, when I go to my Nanite and triangles here it's way
too low resolution for this. So basically, in
order to fix that, I can basically force it to
add more resolution simply by going into our modeling
tab and on this one. This was not really a
problem for the walls, but I guess because
we need a lot more dense jump tree here, you can go down to where are
you remshRmsh I am blind. I must be really blind.
Oh, yeah, here it is. Remash. So we can do remash and we can go ahead and
set the triangle count to, like, 20,000 or something. Just something like quite high. And then, then I should
take over from this. Maybe 50,000. So
let's press except. Here, see, Nanite is
taking over from it, but it's still not good enough. So let's do another remash
and let's go way higher. Okay, right now it is at 70,000. If I go, there is a point where it basically doesn't allow me
to add more stuff, but it looks like
that 150,000 is fine. When I press apply,
I do, of course, need to make sure that
Nanite is still turned on, which it is. And it looks like
that now already the displacement is
a little bit better, but it still shows
some issues over here. Okay, you guys might not notice, but my engine crashed. But I made it look
almost as if it didn't. So basically, like I was saying, we do not yet have
enough polygons. Now, the reason why I want
to have enough polygons in my actual mesh for the nanite rather than just like lowering down the trim relative arrow because if
you lower it down, you should get more polygons. I will need to be
very careful with it. So if I go 0.04
and that psu ply, maybe you can see that it does
higher the fallback arrow. However, when your Nani triangles and your fallback
arrows are very similar, this will actually cause
a lot of performance hits because it's
basically from distance, it's trying to still render a really high resolution mesh, which we do not want. This is something that can be compensated using
the relative arrow, if I said this to 0.5. But often it causes
shadow problems with rate raising and since we are using rate raising,
we don't want that. Right now here you can see
the fallback arrow is 200. So this is pretty decent, but I'm still quite
uncomfortable place moving this trim relative
error down a lot. I can do 0.03, but I
know that at 0.01, I crash because I just crashed. So I will do one lower and see if that
works. So here you can see. Okay, so now we are one lower. And after we set maybe our fallb because I'm feeling that
one is making an impact. It's set this to 0.3. But it's still not really
good, as you can see. So I'm trying to find this
balance between having, like, real geometry, but also having good
performance and still having it looking pretty good. Right now, have a quick look. See, we need way more
jom try than this. I can go ahead and I
can go to my modeling. By this point because our
trim relative is quite low, this will become a little
bit of a slow process, so I might pass the
video throughout. But if we go to our remash, I'm going to see why
now we are at 180,000. And yeah, I'm just going
to go ahead and let's say, 500,000 does not
give me an error? I hope not. There is a point where if you
go higher than that, the system basically says, like, no, we're not going to do that. So if I go 500,000, of course, my Nanite should still
increase this amount. So and Nanite is enabled, so I'm going to press Accept
and hope for the best. But this might take
quite a while. So I will pass the
video until it's done. Okay, so it is done, but we still have a
few of these spikes, and I think these
spikes over here, those are just
because, of course, a displacement map
that is this soft, it would need a huge
amount of polygons to really render at the
super high level. So having this, we now
have a polygon count, and I think from a distance, it's looking totally fine. So it's up to you
what you want to do. Like I might want to go in and sets like to 12, lower
it a little bit. I don't really care too
much about my center right now because I can just
lower this plane down. So I don't want to, so my trim relative
error is now good where you can see like there's a very big difference
between the two. Okay, so if I lower it down,
that's looking pretty good. I'm going to try one last re mash just to see
if I can go even higher because you can see that whenever you say like 800,000, it pushes it down to
like I guess it's like rounding off in even
values, like it pushes it down. So if I go 800, Sorry. 800,000. And probably don't want to go higher than
that because then just it becomes a really
large mesh to handle. Like, Nanite is great in, but there are still limitations,
not so much in, like, the polygon count, but
just like in handling any types of edits or anything like that that we might
need to do in the future. So let me just go ahead
and pass the video again. Okay. So that is done. I'm pretty much happy with this. I'm going to go ahead and
I'm going to save my scene. And, of course, one
thing I do need to do is I need to go
ahead and if you want, because my Pivot point isn't
like a strange location, I should be able to just
go to pivot and center it. And you can see how much slower, just like simple functions have become because every time
we make a difference, it will need to recalculate. So that's what I was
talking about that I don't go crazy high. Luckily, doing something as
small as changing pivot is not like a large recalculation. And if I now go in and
I will lower this down, I think that this
is good enough. I might want to replace it or may improve it a
little bit more later on, but for now, yeah, even if you're up close here, you can see like there
is some bump in it, and that's more what
I was looking for. And also just follow
my shadows to catch up on those bumps and
everything like that. So compared to this, especially when we throw on
fill on race racing. Like we set everything to
high for our final renders. I should give us some really nice shadows and
stuff like that. So for this one, what I'm going to do is
I'm just going to go ahead and open
it up over here. I want to kind of, like,
do the same thing where I just do like a remash
and you know what? So, this one is smaller,
so let's do 600,000. Just straight up, go quite
high and give the second. Oh, yeah, here, here you can see that this is a lot better. So that's also the benefit
of smaller meshes. One way, by the
way, if you like, one thing that we might also do if I'm really
not happy with it, is that I'm just going to, like, instead of having
one giant plane, I would have one
plane that's like exactly like four by 400
or something like that, and I would simply duplicate that around in a modular way. Doing that with
displacement can sometimes cause very slight incorrections
where the lines meet, which is why I twice sort
of to avoid it if I can. But it is a really good
way to, of course, grease the polygon count because, well, it's
just easy to do. Anyway, if I go here, I'm going to set
this one to 0.03. We did 0.2, I believe, for this, but I'm not sure. I can just quickly check because I'm always
really forgetful. And of course, the
selection is white. Oh, 0.3. See? That's what I
mean, I'm really forgetful. 0.3. And then displacement
was going to become 12. However, 12 might be too
strong because this is, of course, smaller
Jumptrn, stuff like that. Everything affects
the displacement. So let's just go ahead and press Apply and see what this does. I guess I will pass the video because I don't know how
long this will take. Okay, so as you
can see right now, it got those
additional spikes that comes with our resolution when we have a lower resolution. So I want it quite
a bit lower to maybe nine or
something like that. To kind of avoid that stuff, so let's press Apply again. Um, I guess, over here, the funny thing is because
of the low resolution, it was not able to capture
those spikes as well, while here because we
have a high resolution it's able to capture
the spikes more, which is a little bit of like an aqua thing because I'm
trying to get a balance. Personally, I will show
you guys something. Here we go. If you
have a look over here, this is, for example,
the high quality render. You can see that those
spikes are actually good because they are
just like little stones. However, this one render has 20 million polygons
into one sphere. And that's how we can do, like, really nice
renders like this. But of course, that's why you need to try and
find a balance in reel. So I think over here, this is probably going
to be my balance. So let's just go ahead
and save my scene. And I'm probably going to
stick with this for now. I'm not really going
to bother with the pivot for
something this small, so there we go. Okay, cool. I think that's
looking quite nice. I do feel like it's still
a bit out of place, and I feel like we also want to make some areas
where there will be dirt for our foliage
and stuff like that. Right now, I can see that
we removed some foliage, so that's something that
we're going to work on. But as like a base, I think we got
something pretty solid, and I don't really want to spend too much time on this
from this point on. Also, one thing that we
need to be very careful is that these tiles,
they are Dutch. Like I scanned them
in the Netherlands. They are we typical
as a Dutch street. I, of course, want to make sure that it doesn't feel
too out of place. So later on when we are
doing the pointing, I might experiment with
different types of textures. But we are now at the point, so we have done pretty much like the wy organic shapes with the tiles and
stones, everything. Over here, these
stones are going to be part of a bigger time naps and the landscape and everything is going to
become quite a bit later. What I want to do
in the next chapter is I want to get started by turning this entire
door and everything into our final result. And that's going to be
defining most of our shapes. Yeah, and that's it. So that will be our next task. F it's going to be a big task. We are going to split up between the door and between
over here like the roof, those are going to be
two separate measures, and we'll take it from there. So let's go ahead and continue with that
in our next chapter.
51. 51 Creating Our Door Part1: In this chapter, we
are going to focus on finalizing our
Drpies over here. And once we've known
those techniques, we can also go ahead
and just quickly finalize all of these
whiles around it. So for our dorpice, we are going to do this inside
into two different parts. The first part is going to
be the base dorpiece and the second part is going to be the roof and all of
that kind of stuff. Now, if we have a quick
look at our reference, what you can often
see like many of these wood pieces
is that we don't really need to do any type
of sculpting on the edges. Over here, you can really see
like sure there is, like, all the woods, but
most of the wood, as you can see, it often stays quite
intact with the edges. And if there is
some edge damage, I can remember seeing
one that had, like, edge damage somewhere here, but I'm not sure
where it is now. But if there is any type of edge damage, we
can just, like, add it inside of
substance painter, just because it's,
like, so subtle. So that will save us quite
a bit of time because then all that we need to do is we just need to
focus on modeling, and then we need to focus
on our texturing process. So for this door,
we will be using a technique that is
called weighted normals. I will go over that
a little bit later. I will go over that a
little bit later on, yes. So then next dis we also have
over here our roof piece. And for our roof piece, we will cover this separately because
it has quite a bit of, like, internal pieces
and external pieces. So I will go over that
a little bit later. For now, let's just go ahead and jump right in and start by creating our final base
door piece over here. Now, to do that, the first
thing that I want to do is I want to go ahead and I'm just going to go in and move this entire thing two or three
in the modeling software. Over here. Now, one thing, however, and it's up to
you to kind of, like, choose is that
when we move this, we do kind of want
to merge it all together in order to
properly, export all of this. If you don't want to
do that, you can go ahead and you can
press duplicate. So if we have a look, and sometimes if I'm not sure if I select everything, I
just wiggle it around. And then I notice that I did not select everything. Try again. Still one. And try again. Okay, cool. So now, this is pretty much where
I will end this piece. So what I was saying is, if you go to
modeling, we are just going to go ahead and we
are going to press merge. However, you can, of course, duplicate stuff if you don't want to merge these
pieces together. But since we're going to replace
them, it doesn't matter. So let's just go
ahead and merge, and you want to white
this to a new object. And in here, I'm going
to go ahead and call this one door on the
score, base on the score. Merged. And what you can do is you can go in here and
you can keep the inputs. And that's probably an easy way, actually, compared
to duplicating. I just think of it. And that's we'll keep the original models. Yeah, so list, it should
be if I just press Accept. Yeah, see here. So it will
keep the original models, but it will still give us
over here our merged piece. So once we have that, we're just going to go ahead
and search it down here, right click Asset
Actions and export it to our From and real folder, base door merged, and
just go ahead and export. And now we can go
ahead and delete this. Okay. Awesome. So
that's already done. Now what we can do is
we can jump inside of trees Max and start
with the modeling process. Okay. Here we go. We can start first of all, by just importing our exports
from a real door base. Let's go ahead and input that. Okay, so it is quite big, but that's probably because
we are sitting in 0.1 meter. So let's set this to
1 meter over here. And another thing
is, like, right now, it always inputs like with
piv point at the center. Of course, we can just
go in and move this up until it's a little bit
more like a logical place, something like this. Okay, cool. So let's have a look. So we are going to, of course,
use this image for, like, the general shape, so that's
not really a problem. I'm just going to pretty quickly talk a little bit
about the construction. First things first,
with the doors, we are only going to create
one door because we can simply flip it around to
use for the other door. So we are going to
be able to mirror things and still save a
little bit of texture space. The same for over
here, these square things and these beams, we can pretty much
flip it around. Honestly, like most of these, we can flip around if
we really want to. These ones over here, because I want to make use of ambient occlusion
and stuff like that, I think these ones
I will keep unique. But like most of this stuff, we should be able to flip it around without much problems. Also, no problems with
ambient seclusion. The reason for that is
because if I rotate, for example, this
piece over here, 180, it will still end up on the other side
against a large beam, so the ambient seclusion
will still feel correct. So, yeah, we are going to
do some mewing just to save both time and also to
save some texture space, even though we have a shader, if we can save texture
space, that's good. Now, for the rest, so as you can see, I quite like all of these, like, metal accents that you
can often see on here. So if we just go ahead
and have a look, oh, yeah, over here. I am going to incorporate just like some metal
pieces here and there. So I will like, well, not these
ones specifically, but like here, like the small ones I quite like
that you can see over here. But I've also seen some
bigger ones, stuff like this. So I quite like
having these type of metal axons on
top of everything. I'm not sure if we would do something on the base like that. If I do it because it will
be quite time consuming, I might just go ahead
and times that. The reason I'm not
sure if we want to do that is because those bases, they will clip into
the rest of our wood. And that's also why over here, you can see that it's
like a standalone. Like there's never
like Willie Wood going directly inside of it. But I do quite often
see that detail. So we might end up just making a small
bit of that detail. Over here, this stuff over
here we can use as inspiration for these pieces over here where we can just like
some carving into the wood. And let's have a look. What
else do I want to focus on? Yeah, of course,
the doors are just going to look really cool. On the corners, it would be pretty cool to have something like that
on the corners. I just need to check because we don't really have
corners like that, but we might want to just add it on these really small
corners over here. I think that will look
quite nice to add some additional metal
details just to improve the overall
look a little bit. And then over here, we also have some larger doors where we
can just, like, have a look. And here, as you can see
what I was talking about. With larger doors at the base, you can see that
there often isn't any metal details
because they have a lot of wood that needs
to go into each other, and it would be a pain to also, like, add additional metal
details on top of that. So here you can actually
see those little beams. I quite like also these type
of small details over here. So Is there anything else that I missed
before we continue? Oh, yeah, maybe over here. Yeah, I would say
that in general, what I'm going to do
is I'm not going to have the metal on
the bases over here. However, what I will do is
I will go ahead and have the metal on these caps
that we can see over here, and I will, of course,
also apply just like metal details in
general, all the way over. So let's go ahead and
go to Tres Maxine. I'm going to, first
of all, quickly assign a base material
to this door. Here we go. And let's just go
ahead and get started with, like, the first one, which
will be a simple box. And yeah, I'm probably just going to go ahead and
I'm going to get started with just like the
larger shapes first, and then I can continue
on with the rest. So with the shape, just turn on edge the faces. What I can do is I can just go ahead to convert at the py. I want it to be pretty
much in the same location. You can do this two way, the
quick and less precise way, which is just to quickly, like, move it like this, which for something like this
is probably fine, or the really precise
way where you can just go ahead and turn on snapping and do not snap to
vertices or grid points, but only snap to faces. And then here you
can see that now, I can snap to the
face behind it. So it kind of depends what
you want to do over here. And for this beam, is just going to be like a large beam that goes
all the way to the top? Yeah, it kind of looks
like it. Looks like that. It will, of course, have some
holes and stuff in there, so we will need to do something. But in general, it looks like it's just like
a simple beam over here. So, okay, this beam. Now, as you can see, there are quite a few holes
that I need to create. However, I probably want
to go ahead and not yet create those until I actually have finished
all of the other pieces. So for now, let's just go
ahead and just work on, like, the larger scale pieces, and then we will
take it from there. One thing that I'm
also going to do, I'm just going to go ahead and right click and just, like, freeze over here my piece so that it's a bit
easier to see. Um, so for these
pieces, you know what? I will already give
them weight normals. I will show you basically what
to do with weight normals, because we can still
make edits after that. So here we have an asset. Now, as I said, we are going
to use weight normals. Weight normals is a
way of manipulating the smoothening on
your model to make it seem hypole even though
it is not hypole. You do this basically by
creating a buffer on your edges, and in this case, the
buffer will simply be a chamfer or a bevel,
whatever you want to call it. I'm just going to go ahead
and I'm going to Yeah, just go ahead and
increase this here. You would create a bevel
and it's up to you to decide how big you
want it to be. Of course, don't make it too big because this is just sharp wood. So let's say 0.05, for example, and
then press Okay. Now, we'll quickly just go
back into isolation mode. Now that we have
this buffer, what we can do is we can basically use a modifier that is called the weighted normals
modifier over here. Now, what this modifier
basically does if I press it, and I also want to turn
on Snap to largest phase, it basically, if I turn
off my edge and phases, you can see that over here, it will completely smooth
your attire model. However, it will manipulate your vertex normals to basically create this smoothing
effect in the center. You can have a look on the fast tractatorial
YouTube channel if you want to have
a more in depth explanation upon that. But in general, the
way that you should think about this is that we are is that you need bevels in order to create the weighted normals because
you need this buffer. Make sure your bevels
are not too large. And inside of TS Max is the
weighted normals modifier. Inside of Maya, you will
have to get a script online. So just type in Maya
weight normal script. And inside of blender, there's also a weighted
normals modifier, just in case you are
using different software, so you can do it in
every single software. And this will just make
everything look a lot nicer. Now what I will do is I
will go ahead and continue on probably with the
window one over here. Now, for this one, we don't
really have any reference, but you can imagine if we just
think about it logically, it's fine to have
the wood like this. However, the wood would
not become one big piece, that wouldn't really make sense. Instead, most likely
what they would do is they would have two
long wood planks, and then they would
place the wood beams in between there and on the inside
where you cannot see it, that's where they would
attach this kind of stuff. It kind of depends
if you wanted to use the old or the
new method for that. Like, most of the times, they would still have well, not for big beams, but they
would still have nails. I would assume because else you wouldn't have
these details of it. It kind of depends how
far way back we go. So I like to think that those little
metal details over here, they are basically
here to cover up nails and stuff like that that will actually hold
the wood together. Um, so that's basically what
we are going to work on now. There are multiple ways
they can even, like, make a little thing
inside of here. So just in general, what I'm trying to say is don't just
make this out of one piece. And then what we will do is
we will also just place like some metal details on the side to indicate that it is attached. So I'm going to go ahead and I'm going to go ahead and I'm going to go ahead and create a box over here, and
this is just fine. Let's just go ahead and add a poi I know that this
is a pretty long plank, but I think that should be fine. So I'm just going
to go ahead and place it into the correct
location over here. I'm just trying to set
like the back face. The next thing is that this is my time to seal the
side on the thickness. And I might want to make it a little bit thicker over here. And next stop is that
we have this one, which goes up until this
very top over here. Okay. So that's an easy one. Now, next what we have is we have another one that
goes on this side. And now we can select them. Okay, so cool. Now
that we have this one, what we're going to do
is we are going to place the beams inside of this. Going to turn on my
edges and faces. So let's just go ahead
and duplicate this. It's going to turn on my snap rotation in
the top, rotate it. Unlike the uni modeling tools, this is just a lot easier to just manipulate it
and stuff like that. I am going to do
this. However, I do not need those
faces on the inside, so I'm just going
to select these press control I and just delete those faces on the inside since you can never
ever see them anyway. However, we are going
to rotate this around. So now that I think of it, it might be nice actually, if I just go ahead and make these beams
slightly thinner maybe. But only a tiny bit thinner wouldn't really
make sense because they would need to spend
a lot of time making this slightly thinner because it all comes from probably the same tree
and stuff like that, but something like
this should work. So if we go for
something like this, I'm going to get started by
just placing one on top. And next, I can use
my array tools if we go to tools and array over here. I can go ahead and basically,
if I turn on preview, if I move this on the
Xaxis and I move it down, I can, evenly space all
of these pieces together. And I've kind of forgot
how many they were. One, two, three, four, five, six, seven, eight. So one, two, three, four, five, six, seven, eight, and
then the final one. I just need to go
for nine pieces. And now I can just
evenly space them. See? So that's just
like a handy way. If we just go ahead
and move down here, yeah, that's expected. -0.525 maybe. Five to one. 52. Two. It doesn't have to be perfect. It just has to be close because, of course, I'm
manipulating all of them. So if I just now press okay,
that should do the trick. Okay, so that's a very
easy one for these ones. Now, what we can do this is
we can go ahead and we can also simply bevel all of these because the
shapes are really, really easy, there's not
much that we need to do. What I'm going to do is I'm just going to go ahead
and first of all, add some general imperfections, and I'm not yet doing
that to this one because I need to do a lot of
bullying on this one. So if I just go ahead and
it's kind of annoying. Let me just I don't yet want to, like, hide my original piece. But basically, for this one, I got away to add some surface
imperfections by simply adding a few swift
loops in here. This and maybe also add
a few swift loops in just like, Oh, they are instant. Sorry, I didn't mean
to instance them. Actually, no, I
will instance them. That's just lucky
accident. I didn't really mean to instant them. It isn't really needed,
but I think I just forgot to, like, set something. But yeah, so it's
wood, it's organic. I just want to give it a
little bit more flavor by like slightly altering the shape of things
a bit et's do this one over here. Okay. Now, at this point, I
can no longer instance them because then I would
actually add the changes. Select them, right click
and convert them back to an added poly and then it
will break the instancing. So if we now go at, let's say, move one here, this one
can go like this bit down. Just add some small details. A little bit the
same as that we have done with the stairpie. Although, of course
the stairpiece was mostly just sculpting. Over here, I'm just
like, actually it's surprisingly difficult to make
a simple shape look good. So that's why I'm just trying to add as many little
details as I can. Now, once that is
done, for these ones, we don't really have to
go in and champ for them. What we can do is
we can just use a ham for modifier over here. You want to set these
segments to zero, that's just like a square
and then lower them down quite a bit up until
this point over here. Yeah, so now have that 0.002,
and that should look fine. Now, at that point,
I can just go ahead and just quickly
move this one down so that we are avoiding seeing
any of these gaps over here. Actually, do we have
It's hard to see, but is it like Oh, yeah, it's not sitting
inside of the mesh. I don't know how many
to mess that up. But let's just select all
of the center ones and just give the tiny scale. It's actually good
that we have this and that we do not have
a chamfer on the end because what it will do
is it will indicate that this shape is pushed
inside of here. However, it would be nice then have some kind
of shapes here. I know how I would set about
the about the construction. So there's three ways that
we can do the construction. Way number one is having nails, which is a bit of
modern construction, and then this would
already be fine. Construction number two
is that, for example, these pieces would have a piece sticking out that is
slotted inside of here. If we do that one, all that we need to do for
this is we would need to, in the end, give it a poly anyway for now
and then chem for it. Okay, so I guess wait
let me just remove that. And I'm just explaining this to you now
because we are going to do this a lot and just
resetting my X form, and basically that it's the
same as freezing transforms so that I'm avoiding
a bug that I have, and it's still not working. Oh, wait. For some reason, it did not cap the polis. Okay. As I was saying, if I just go ahead and
isolate this again, I widgt which one
I I get this one. Let's try again.
As I was saying, another way is now if we would, for example, chant for
this here like this. This way, it does show that there are something going
inside of the wood. And the last way, which is the most complicated
way would be to push the wood in here
and actually have a gap sitting inside
of this wood. Now, because these are really simple shapes and because we only need to make one of them, I actually want to go
for that last technique. So just for you to keep in mind, I'm going to go ahead and
I'm going to First of all, it gets rid of
these faces again. Over here. Now, the amazing thing about Trees
Max that I can just select. So I can just pass
copy on one hanfa from one piece and then paste it to instantly take over
all of the settings. Now what I'm go
gonna go over here. And then for this one, so
we just basically need to show that these messes
go inside of here. First things first
is to actually make them go inside of here. This is really simple modeling. I have a feeling not many people are even watching this part, but just in case you
are watching it, what we're going to do
now is I'm just going to go ahead and for this piece, I'm going to temporarily remove my chamfer, go Swift loop, and I'm going to
place a swift loop right on the edges
over here like this. I will also place a swift
loop here at the top. Basically I just
need to go down. On each one and place
the swift loop. I do note that over
here, for some reason, the swift loop is a
little bit too far away. That's something
that I will fix. But basically, all we gog do
is like a simple extrude, and then when we champ
for that extrude, then what we will get is we will get the effect that it is basically created to push it in. And it's a small effect, but we already have
so little data. This one I'm just going
to push this one up that just having any of
those additional details, they don't take very long, but they will be better to have. I'm just going to go
select this edge and just move it back a
little bit closer. I want to also make sure that
over here, that's correct. And this one is also correct. Now, at this point, just select. Sorry if I'm like, if my
camera is going really fast, well, basically,
just go ahead and select all of these
ends over here. And now all that we need
to do is hold shift, hold shift. That splendor. All that we have to do is I'm just going to go to my settings, and I'm going to
just push this in. I can press led eggs to basically make sure I don't push it into much,
something like this. And then after that, just press the lead to
delete that edge. So now, with these ones done, if I now add the
chamfer and actually, I can literally grab this
chamfer and then paste it, um you can see, although there is a
few small problems, but you can see that over here, this is looking
quite interesting, having some piece actually
going inside of it. I'm just going to isolate this one piece because sometimes the hava just pushes out a little bit too far, as
you can see over here. So you want to just
select them by hand the vertices and just
move them up again, which is fine for a
piece, the small. And over here, yeah,
it does the same. Just need to move
it down over here, and you won't really
be able to see that. Okay, cool. So we now
have this piece done. Now, on this side,
what I'm going to do is I can simply select this one, and you can all use
a symmetry modifier. Or what I like to
do is select it literally just select it. And if I just make sure that
it is exactly in the center, my pivot point by
going up here to my hierarchy effect
pivot point only, and just center
it to the object. Although I do expect that you
know the basics like this. I'm going to go ahead and I'm
going to rotate this 180. Placed into position,
temporarily right click and
hide selection and delete the other one and
then unhide the selection. Now this is all ready to go. So now all that we have to
do is just add our weight. Norms modifier, and the snap
to largest face basically compensates for really
large and long faces to still make them look good. And now, if I turn
off my action faces, you can see that now, we
have this really nice, high quality piece of
wood that still has some additional
details where we can play some nice dirt
and stuff in here. Now, next to that, we
also have over here just like a beam, as you can see, but I think I can literally
just grab this piece. Over here and just temporarily get rid of
the weighted normals. And if I just go to my top
view, like I would here. Now, for this one, I also
need to have a little think about it because everything
has to stay logical. I'm someone who will likes to
keep their models logical. So it's fine to have
a beam like this. And yes, if it is connected
here, that's fine. But then over here, like, there would need to be
some kind of a connection, and Okay, so they have, like, some stone at the base
for that kind of stuff. But, like, a stone at the base wouldn't
really work for me. So I'm just having, like,
a think about yeah, here, they make it like
inside of the stone. I can kind of see here that
it's like sitting on top. So what I might do is
I might just, like, make something in unreal for when it goes inside of stone because
here you can see, they do have these stone
bases almost everywhere, but they are not for pieces
that are like doors. Like Well, here
you can see, like, a little tin stone base.
I guess we can do that. Let's do like a w
thin stone base that will actually
cover these tree, which means that we
would need to go in and we would need to, like,
push all of these up. But let's first of all, just go ahead and
create our stone base. So if we go to the top
let's create a box. Let's make it a little bit bigger than our
pillar over here. It's COVID at plot I want to actually make
it a little bit bigger. What I'm going to do is because I want to
make sure that it is in the correct position, I'm going to make this
exactly as big as my pillar or just like almost exactly as big, and then
just scale it out. I'm looking down here. In my scaling and it set 115. I can go over here
and now I know that exactly this entire edge around here is 115 because
we scaled it evenly. I can then go in
and with this one, if I just go ahead
and go up here, I will turn on my
edges and faces. Yes, it's a bit
annoying to work with this blockout to have it, but I would say, you
kind of get used to it. But anyway, what I'm going to do now is I'm going to place two edges here by selecting all of my edges,
going to connect, connect settings, and
push these edges out so that basically it will also
cover this beam over here. Then we can just select that
side edge and push it out. And this is basically
what I mean. Now if I do this, and
I can still select these edges to kind of
make sure that it's nice, that's a nice area. Over here. Okay. And then with our door, this is something that
we are just going to also alter our door to this. Now, last thing is that we
are going to select the top, Shift and click on Edge in your added poly to
convert it to edges, and then just go ahead
and add hm for note. And give it like a little
bevel over here like that. Okay. I'm just going to unfreeze and just going
to height selection, this one, makes it easier. So we got that stuff done. We can also go in and
just delete the bottom. And another thing
that I want to do is, but this time I'm
doing it manually is I'm going to add some cha fo to also support weighted
normals for this one. Because even though
that's a bevel, right now, it would be
a really large bevel, so it would not be shown
as a proper chavel. So if I just first
of all, finish this because we need them on corners. So now if I would like
the weighted normals, it would become one
large smooth piece, but I actually want to
keep that bevel in here. So what I'm going to do is, and I know I do these functions quite quickly, but normally, I just if I want to select a top face and I don't want to select all
the faces individually, I just set bi angle five and ignore back
facing to select the top. Then I hold Shift to
convert that edge, and then I just hold Control and double click on
the edge below it. Basically just select both edges and do it however fast you can. I'm going to make this bevel. Quite small, like 0.001. This baffle is just
here to not break the weight normals and to keep this edge looking
sharp over here. Now, if I go to edge and phases, you can see that now this
is looking quite nice. The last thing that
we need to do is we need to move all of
this up a little bit. Oh, wait. Of course,
it does that. The reason it does
that is because if we just turn on our blockout again is because these ones we want to actually
push them down. Until they hit that point. Yeah. Yeah. Okay,
that's more logical. Anyway, as I was saying,
select everything, deselect the concrete, and you want to turn
on FFD modifier. So if you just go over here, you can say FFD and Folample
do two by two by two. And what you can do with this one is the same as
the lattice modifier. And I know I say that one, but I still don't
know how to say it. And I can just, like,
evenly push all of this stuff up like this. But it will not change the top, so it will not change that size. So now you can just go ahead and convert it back
to the added ply. I can go in here on
my weighted normals with snap the lights face. These ones already have
a weighted normals, so that is now all ready to go. Last thing that you
could do is in this one. We just quickly add some edges. I can, of course, add some
small imperfections to this. But be careful
because, of course, we are placing our
door against this. So it's mostly just
going back and forth in this fashion
and not so much. Well, I am doing it
here, but I'm doing it, like, really slightly. Like this and don't
forget to re arch your weight normals modify
after you added some edges. And there we go. Okay,
so that's now done. I would say that this is
probably a good point to finish this specific chapter. I'm going to go ahead
and in next chapter, I'm just going to work on
these beams over here, and then I'm going to work on the door and then we'll work on these ones which are going
to be a little bit more complicated because we are going to have some
specific shapes. Then later on we will just art all of those metal
pieces and everything, but we first want to go ahead and create
those individually. So make sure to
save your scene and let's continue on
to next chapter.
52. 52 Creating Our Door Part2: Okay, so let's go
ahead and continue. So we got those pieces done. Like I will before
I do the door, I just want to go ahead and start focusing on these pieces. Once we have made this
one piece over here, we can pretty much make
all of them down here. This one. 1 second, just, like, free selection. This one over here, it's
like just a simple beam. So if I just go ahead
and start with that, I can go ahead and duplicate
this going to center my pivot because it was not centered and just
like, rotate it. And placed into position. So this one can
just, like, simply stick through our original beam. Probably if we go to, like, a side view over here,
that should be fine. Oh, hey, nice. It's already
on the right width. So I'm just going to
push this back in. Over here. Hey, I just push
this one out a little bit, maybe a bit further, actually. And that should do the twig
for this one. Okay, cool. I will add some additional
variation to that later on. Let's go ahead and first of all, focus on this one over here. So I want to kind of
create a shape like this. In general, I don't really
see a lot of examples. So it's mostly just going to be guesswork because I'm
trying to see over here, I can see that they literally carved the entire
wood, which is fine. Oh, yeah, over here, this is a pretty good example where you can see where
they carve the wood, but often what you see
is like, they also added a really
strong bevel to it. And then over here, you
can see that goes in. So this is definitely
like a good one. And then inside, they also carved even more
pieces of the wood. So I'm going to go
ahead and I'm going to shy capturing
something like that. Where is that one image that? And, yeah, I will see. Maybe I will go for, like,
something like this. I will not go too intense
like this because then just making a little bit of wood would cost, like,
a really long time. We are going to maybe, like, create pieces like you
can see over here. That would be quite cool.
But that will come later. Okay, cool. 1 second. Let me just move this over here. So making these pieces, it's probably easier to
do this with spines. So if we just go to our
front view over here, yeah, we mostly want
to focus on the end. So if we just go ahead and
go up here to our shapes, we can use a line, which I guess I'm calling it a
spine, but it is a line. And I can just go ahead
and it can start placing hold shift to create
like a straight line. And now I'm basically just
tracing around what I think. Like, I'm just looking
at this shape, and I'm just going to roughly try and create that
specific shape, and then we can always
alter it later on. So if I go ahead and see, go here, and then I move here, and then I click and drag to
create this straight line. And the beginning always
looks pretty ****, but then after that it should start to look
a bit more interesting. So let's leave this. And
now we basically want to go ahead and press one and we want to go into our spine. And if we go ahead and
let's start with this one, you want to right click and
sometimes it set to corner. I want to set it always
to a Basier corner because the basier corners
allow me to basically hear, see, control a bit
more of the shape. So let's see. So the
shape goes up here. And then here, there's
actually a little gap. So I'll set this one
to a Basie order. And I'm going to just
kind of move this down, rotate this in. Maybe you can switch between
scaling and all that stuff. If you feel like you don't
have enough polygons, you can go ahead
and go up here to the interpolation and just set it a little bit higher like this. So let's have a look. So we go here. Then it goes down,
and then this one, if we also make
this Basie corner, this one needs to go like, quite a bit bigger again. I do feel like that,
you can really see, like, a sharp corner here. So this is just like the base, we still need to, like,
do a lot of work on it. I'm just trying to have a look. So this one, I feel like it has to have a
sharp corner over here. Then over here, it is
quite nice around. However, then this one, if we also turn this
one to Base corner, have a look up until this point, and then this one kind of like switches to a round shape
quite quickly like this. So it's like quite sharp. Then this one, I
need to make it. Luckily, because it's wood, when it looks a
little bit strange, it's fine because it's
like an organic shape. But I do, of course,
want to kind of, like, try and make the flow
feel a little bit nice. Once again, Base Corner.
And let's have a look. So this is what we
have right now. And here you can see
the original shape. These pieces that we
are going to cut in, we will go ahead and for those mimic this effect
where they are, like, a little bit sharp,
but just make it easier. But in general, right now, I'm just Oh, God, where are you? Oh, here. In general, I'm just trying to get the base shape right now. And then take it from there. So let's see. So
we have this cut. I feel like that this
cut needs to be a little bit less sharp. So we go around
here, around here. Yeah, I just hope that the shape doesn't
look too strange. I feel like this shape,
like we can do it here, but I feel like we wouldn't
want to also do it on these sides because these sides look a little bit
more simplified. But over here, I can imagine
it going around here and just being like this
kind of freaky shape. Even in real life, it
kind of looks freaky. So let's see. If we just go ahead
and go for this, I'm just going to move these two on roughly the same line, and then I'm going to press
Insert and I just click on one and then click on the other and press yes when it
says closed spine. And then for some reason,
it does not close my spine. That's weird. You can also use the Connect tool by
clicking and holding, and now it does
close. Okay, weird. And basically, what
I'm going to do is I'm going to add an
extrude modifier to this, which will basically
turn this into like a tweed shape over here. Now that I have my
extrude modifier, now I have a bit of better sense in how I'm going
to bevel this one. So it pretty much
looks like that. In terms of the bevel, we just want to kind of
bevel it all around. We will also, later on, we will just like
symmetry everything. So for now, just to keep
things nondestructive, I'm going to keep my line. Then the next root, then
I add an added pony, which will allow me to
basically select my face, hold shift, and go to my vertex mode, and
then champ for this. So I want to start with, like, a large chamfer over here. Something like
this, for example. Next, so that's looking fine. I'm going to go ahead
and just go in here, and as you can see over here, like the chap for it's
just a bit broken. So we just select all of
the vertss and just like, collapse them together
until it becomes one piece. And then over here, of course, we don't really yet need
to do much on this side, if you want, because we can pretty much like
delete most of this. Um just having to think about the best way
to delete that I can just, like, slice it, basically. I'm just going to quickly
push this one back in. And yeah, let's just
add like a slice. So there's, like,
a slice modifier, and what it allows you
to do is if you click on it and just find the right axis, you can, like, place
like a slice over here to cut off your shape. So I'm just going to
move it like here. And then if I just go to my side view and add
another added poly on top. So you can see that I'm trying to work really nondestructive. I can then just, like, cut it like a super
clean cut like that. Okay, so we got this
shape over here. Now, the next thing
that we would oh, sorry, I accidentally
hit my microphone. The next thing that we would
need to do is we would need to cut out some of
these shapes over here. Now, it looks like this
shape is pretty much like going along this
shape, which I quite like. And then it splits off
into various areas. And I do kind of like that. Yeah, I think that
looks quite cool. So I'm going to go ahead
and do the same thing. Now, for these shapes, what I will do is because we
are going to go for, like, a sharper cut, I'm going to have a quick testing prototype. So if I go ahead and go in here, and I basically want to
go in, and this one, I want to have it
go a little bit smoother around the
edges probably. So just like, first of all, placing this quite quickly
because it's just like a test. And this one goes
just along here. Yeah, let's do this. Okay? So basically, what we're going
to do is we have this one. I'm going to just t and
right click Base Corner. I'm going to ty and keep
the distance fairly even. But take it with a grain of
salt because like I said, this is an organic shape. So we are allowed to make things like
not absolutely perfect because especially
in those times, like it's a really old shape, things just wouldn't
be perfect in general. Let's go Basicno And my idea is basically
that we are going to assign a specific
shape to this, and then we will
use that shape to basically cut out boolean. That's the general idea. And then once we've done
that, I don't know. Yeah, this shape
doesn't need sculpting. So we can just assign weight normals and
some unevenness to it, and then shoot while you do
the trick and for the rest, it's the texture that is
carrying this shape a bit more. Here we go. Okay, let's say that we have
something like this. Now, once I've done this, you can already just go in here, I'm just going to
tape one off where it basically goes like this. Here we go. And then
there's another one, and maybe I can just,
like, reuse this one. And this one, um, Oh, no, wait. Actually, yeah. It's a bit
like just goes over here. Just trying to kind
of line it up. So you have one, two, and then over here, there
isn't really much space. So we got these two
over here also. So this is the idea. We
have our spines over here. Now, if we go ahead
and art and this is the most amazing thing of Trees Max which I really love because I'm more of
a spline modeler. If we go ahead and add a
Sweep modifier over here, we can guide a lot of different
shapes along the spine. Now, what I was thinking is
because we want to go for this angle look, where are you? Over here. So now
let's have Luo. So a little bit more
like an angle, Luke. What I was thinking is if we
go for a cylinder, however, we set the cylinder
interpolation to be like, as you can see, over here, at zero to make it a triangle. And then push this out.
And what you can also do is you can also go into your
sweep mode and over here, you can decide how that
it pushes out the line. But it looks like
because we have a short piece over here, this should probably
be the best. Now you can see that over here, when we would do a boolean, we can quite nicely
cut this out. So I do think that having this, I now need to go back in my line and just turn on the
show end result button, which is this little
button over here. I'm going to go in and give it a bit more space because
it's a little bit too tightly packed right now. There we go, see. And now, this one is quite close. I'm just trying to,
like, slowly guide. Along these lines. I'm not
yet sure about this one. Maybe if I make it a little bit here a little bit thinner. Basically, I want to make
sure that this is correct because there's only
one chance to do this. Well, not there's
more than one chance, but, like, it will be a pain. So so go ahead and paste this. And for these shapes, basically, what I want to do
is I just want to try and line them up as good as I can with the original. And then over here,
I would like when we do the Bollion I would
just need to do, like, a little bit of
cleanup, basically. Where's that other shape? It's over here. Okay. And I need to move these
forward a little bit. I think that should
do the trick. What I'm going to do is I'm just going to
go ahead and press control V. And as a copy, I want to add this to a
new layer that I called backup just turn it off because now what I'm
going to do with these three, I'm going to right click
and I'm going to go ahead and um Oh, right click, sorry,
that is unreal. I'm going to right click Covert Add a poly and then
I'm just going to press attach and then select
everything that I want to attach like this so
that it becomes one model. And then I'm going to select my original model, and in here, I want to go in and
actually this one also copy and throw one
copy in the backup. And at this point, I'm
just going to break it, so I'm just going to go addi ply because we need
to do that anyway. And then if you go
to your geometry and go to compound objects, we can use a pro
boolean over here. In advance options, we just want to make sure that we turn off or turn on
remove only visible. This will keep our
jom try bit cleaner. Start picking and
pick this shape. Now, I can see over here that
I seem to have a problem. This is most likely that these shapes do not play well
because they are inserting. So I'm just going to
detach them and try again. So probleon start picking shape. Another problem that can give these issues is that
our mesh is not closed. If we just go ahead and
select this end and cap poly. Like, booleans are quite buggy, so it just sometimes you
just need to go ahead and, like, try some stuff out. Now you can see that
now it does work. And I should be able to
actually select these. I completely forgot
about that. There we go. So now we have a shape that is carved around it over here. So that is something
that we can work with. If we now go ahead and
convert everything to an added poli again,
definitely, over here, we would also need to add
some visual interest, but I'm just mostly focusing
over here on these ends. And what I will
do is I will most likely inside of
substance painter, I will, like, add some additional damage
and stuff like that. But in general, it's a base that especially
from a distance will work, so it'll be fine, although I
need to have a think about the thickness because it looks
really thin in real life. Anyway, so now what comes
next is going to be cleanup. For this, I often like
to use my target well, too, so that I can just, like, weld some
vertices together. We need to also connect a
bunch of stuff together, but that will come
a little bit later. So over here with this
one that we have here, I would like to make this one if I can completely
flat up until, like, or, like, it will kind of like taper
off from this side. So I would like connect
these pieces together. And then this one I
kind of like, Oh, here, you can see that there are
still connections missing. Also, quick trip trick if
you just select everything, weld weld vertices and
just weld at, like, a really low level,
that often already, fixes a lot of your problems. But booleans are really messy, especially these
type of booleans. But what I was planning is
I was planning to, like, make these go down
until they become flat. And then at this point, we can just go ahead
and we can just start welding everything
to the other side. And you can see that over
here like that just has a nice thing where it
just like, tapers off. But yeah, cleanup
definitely is going to take a second to do right because whenever we are intersecting
different models and then trying
to bully in them, it just becomes quite
a messy affair, but there we go. And then at this point,
here I can see that we have some problems which looks like double faces or
something like that. I'm just going to delete it
and just see what it does. So it's not double faces, but there's some kind of
like double vertices, which are a little bit
annoying because we can press, try to press collapse.
No, that does not work. In that case, it's
probably easier if we just the ones that we
have these problems, if we simply delete them, but we cannot delete both sides. We can only delete
one side because else we cannot attach it. I can see over here that there's one extra edge still left, and I need to look at it from the inside to be able
to properly, select it. Over here, let's
delete that one too. Also, what I like to do is, I like to press
seven so that I can see my polygon and
my vertice count. And I like to go to
Configa View boots, statistics and turn on total and selection and also
turn on triangle gout. This way, when I have
something selected, it tells me how many
I have selected, because if it says that
I have two vertices selected, like this, while it only shows one, I know that I can press collapse in order to improve that. So that's basically
what I need to do now. All of these erts
that are double, I need to use my target belt to combine them so that we have a clean row of edges, which we can then use
also on the top to basically bridge
everything together. So I'm just moving stuff
around so that I make sure. This should be pretty decent. So now if I go in, I can, for example, sack some
edges and press bridge. And it does a pretty decent job. So I'm just doing it one
by one so that I know for sure if everything
goes correctly. See, that's just
like messy cleanup. There isn't really
much logic to it, just trying to fix
all of your vertices until they look somewhat decent when they flow over,
like over here. And let's see, over
here, these ones, they look more like just
like some smoothing proms. So I don't need to
worry about that. I do have over here
sometimes in the corners, you get some duplicate vertices. And this is often how I fix it. However, what you can
sometimes try to do is you can go ahead
and go to selection and then overhear of your edges. And if you set this the
two and then press Select, it will select all of
the vertices that have less than two edges or that
only have two edges selected. Right now, because the vertice
is literally on one edge, as you can see over here, it will select this vert C because it can see
that it's an error. And then you can press Control Backspace to basically
get rid of it. That might save you some time, but we still need to anyway, have a really close
look over here. I'm now going to go
back to my target belt. I do apologize if I
sou it out of breath. It's because I'm
having a bit of a cold coming up, unfortunately. So I'm just like I got tired
a bit quicker when talking. Okay, so this is a pretty good point where
we have this one, and then we push it
back in and in and I think that's enough until
it just becomes flat. Wait, let me just
move this one here. There we go. Hey, I
just think about, of course, they carve all
of this stuff by hand. So keep that in mind, that they use carving knives, so it doesn't have to be like perfect and
stuff like that. Okay, so now this one goes
right here and over here, we still have some problems. Um This one's quite an
interesting one. Let's delete. That stuff up until
this point over here, I just want to look at
it from the other side. Delete that stuff. Let's
merge this verse together. And that's just in general, clean this stuff
up, and then I'm going to add a
bridge first here. And then we have a bridge here, and this one now should,
should be nice and clean. There we go. Okay. So those are now done. Now, we still do have
the ends over here, which I'm not a big fan of. And for these ends, I'm
curious if I just, like, merge them together, if that makes for logical
ends when I then, of course, add some bevels. I quite like it, but then I probably want to do
is I want to place like one cut in the
center over here, and then move this one out
a little bit like this. Yeah, that looks the best. And then over here, I can
go ahead and do the same. So I just, like,
merge them together, place a single cut,
and move them out. Like that. Okay. Don't worry about
like this end over here. We are going to an clean it up. I would say, yeah, that's
looking pretty good. Now, we come with a bit
more of an annoying thing, and that is we would
need to connect all of these vertices
over here together. However, before we do
that, what I first want to do is I first
want to go ahead and already add my chem fils because it's easier to add chem
fils when stuff is not yet connected when we talk
about such a complicated mesh. Also, I need to
have a think about my thickness because over
here, this is, of course, quite a tick beam, and I'm
not sure if I just want to, like, push this thing out a lot. Like this, it does feel more
logical to just push out. I will not make it as thick
as this beam over here, but we are basically
later on just in here. And then this one, I
will simply make it like a separate model because we are just pushing
it inside of here. That's just easier
if we do that. But I do need to,
of course, think about the thickness before that. Anyway, at this point, I think this should be good
for us to now add a Jefa, set the segments to zero
and just right click on the amount to also
set the amount zero. And then simply I'm like, Oh, definitely has
some problems, as you can see over here. I'm just playing around
with, like, the amount. Let's go ahead and go
back into our added poly. So some of the problems
are on the end over here. What I'm going to do is if Oh, one site, if I go to
the site over here. I want to start by just deleting some of
this stuff a rear that should already resolve
quite a bit of stuff. I see some weird vertices floating here that I'm
going also just delete, and this one is out of place. And here I see, an
extra edge show Oh. Oh, is it a face? Oh, God, that's annoying. Yeah, that sometimes happens. It's really annoying on that it somehow just
messes up your connection. The only way really
to fix it is to just place a cut probably
like right next to it, and then just delete
the entire thing. That's the easiest way
for us to fix this stuff. And, of course, I do
need to continue my cut. Let me just quickly go
into isolation mode. Here we go. So continue my cut. The leads. And I forgot to
also place it over here. I can just delete something like that. That should be fine. The reason it should
be fine is because we are going to hide
this part anyway, so I just want to
quickly remove it. Okay, so now the Java is
already complaining a lot less. I just need to make
sure, Okay, over here, we have some problems, which
we can merge together. Same over here,
that just happens, but we do need a
Janv in between. I can maybe make my
chenva a little bit thinner over here to like 0.01. And if I then look
at it from distance, yeah, that should work. So if we do that
and now art and add a pool, and then over here, sometimes holding old
eggs can help to, like, better see what
the hell the problem is. And over here you can
see it was just like, pushing out a bit too much. These ones are just like
needing to be merged. Same over here. These ones just need to be like merged,
and there we go. Then it will have a
clean transition. And then, of course,
you guess it then if we would do a weighted
normals in the end, and add Well, we cannot
add our big faces to such or snap the large face
to such a complicated mesh. But over here, you
can see that there is already, like, potential. Now, next thing is that
we would need to go ahead and connect all of
these pieces over here. There are multiple ways that you connect it that
you can connect it. Sorry. One of the easiest but
also the messiest way is to hold Shift and go to Vertex mode and simply press Connect, and then
it will connect it. However, as you
can see over here, it will just look really, really bad and it will not have a clean geometry flow at all. So what I often like to do is I often like to actually
connect it by hand. Now, it might seem like a lot, but if you can see when I click once, I can click back again. So like that, I
can go ahead and I can actually work with
this quite quickly. To connect these pieces. Another way that you can do,
but that way we'll break, your entire topology is I don't know if I
have it installed, but there is like a
topology modifier. No, I don't have the
instart right now. The latest versions
of three is Max, which is 2022 and 2023, also come with
atopology modifier, which could save you some time, but I personally think it will break our weight to
normals and stuff like that, so I wouldn't really
want to work with that. So what I'm going to do is I'm just going to go ahead
and end the chapter here. Like we got the base shape, although it's quite
a freaky shape, but I think in the end, it will look quite interesting. And in the next chapter,
I will have everything connected just by the way
that I'm doing over here. Just have a clean connection, and then we will
take it from there.
53. 53 Creating Our Door Part3: Okay. So I just
finished connecting everything and not the most
fun job, but it is done. Now, one thing
that I did notice, I already threw on the weight normals over
here, I can show you again. However, we do have
a few problems where it isn't really
capturing really well. And that's just
because over here, technically, this one, like it would need
another bevel around it. However, I feel that that
is a little bit overkill. So instead, what I want to do is I want to try and
use smoothing groups. So what you can
do is you can use smoothing groups by
turning on the use smoothing groups over
here to basically control what the
weighted normals do. Now, if I go to
my added poly and I'd go to my face mode and
just select everything. Oh, wait, you cannot
see the selection without turning off
weighted normals. I want to make sure that my smoothing group
is set to one. However, what I can
do is I can assign different smitten groups
to another phase, and then what it will do is
in the weighted normals, it will basically
ignore these phases. So I had the idea of basically grabbing over here
like the center phases that do not
have the bevel and then simply turning off
weighted normals for them. That often gives me
a better result. So, maybe not this one, however. I think
that's a bit of a. So if we go ahead and
just set this one off, or you can set it
to two, doesn't matter, anything except one. And now if we turn on our
way to normals again, you can see that now, it reads a lot better,
as you can see. It does still have some
sharpness in here. So that's up to us, like, see, if I maybe go
ahead and set this tattoo. Here. If I set the tattoo, it does get rid of some
of that sharpness. So yes, it will
look a little bit sharp up close,
which makes sense. However, from a
distance, it reads a lot better, as you
can see over here. This one over here,
can I live with that? No, it's actually an error. Let's go in here,
and I just need to quickly merge these
pieces together. I think that's just like a ham for tool thinking
it's a sharp edge, even though it's not that one, actually, I want to
have a sharp edge, that one I also want
to have a sharp edge. So that's all.
Yeah, there we go. And that reads a lot
better. Okay, cool. So this is basically a weird looking shape,
but it does work. So now what we're going
to do is pretty much just decide how thick
it's going to be. So I would probably make it a little bit thinner than
this beam. You know what? I think that if I now add a symmetry modifier and just click once on the symmetries that you
can move it around. I think that this is already
more than thick enough if I go for something at a little bit less even,
something like this. I think we have more
than enough thickness if we go in this route. So now you can see that now pretty much like
the end is done. Once we place our end in
here, then of course, I kind of need to place it here because As
cannot see what to do, because this is where we
have a finalized boot piece. But yeah, we can just
basically place it in here. And then of course, it
does need some changing. But if I just isolate this, easy way to place this exactly
in the center is to just grab this wood piece over here, select it and place like a
single connect in the center. This way, I can simply select this and I can just
move it over here, and I know exactly where
the center is like this. So there we go. Okay, so
we have that one done. Now, next thing that
we would need to do is we would need to go ahead and just like also create
this beam over here. I am going to just go ahead
and create the entire Lani. So this one over here, we can duplicate because you
can see that it stops here. So the end, we can duplicate. However, this one, I'm
just going to make, like, the entire thing. And I kind of want to
check, like, over here. Okay, so it is not
willy visible. So what I'm going to do just
because this is a tutorial, I'm going to not make the
insight as complicated as here. I'm just going to,
like, leave out these small details instead, just, like, make
something like this. The carving is looking
interesting, I would say, I might just make
something up and I might just go for something
slightly different. But here, you can
see that this one you can really
only see the ends. So that's where I wanted
to focus my efforts. So having this, it would
make sense that, of course, the rest of our
wood beams are at the same thickness over here. So what I can do is I can
just go ahead and go to my side view and I'm just going to create a whoa
that's weird, buck. It's probably because of the different
screen resolutions. I'm going to go ahead and
just create a wood beam that pretty much yeah, let's make it so that it follows the outside of the shape. Convert to add the poly, select the sides and just
move them in over here, and that should do the trick. Okay, cool. So we have this one. I'm just going to stick
it in a little bit. And I need to select this site, and then I need to just
turn on my blockout to know roughly where the end is, so I'm going to also stick the end in a little bit over here. There we go. That
should do this. Okay, so we got this one. Now let's go ahead
and now we need to have this stuff in the center. Now, I think what I'm going
to do is I'm just going to, like, round it and then
give it like a bevel. So let's say that we add we
select these edges over here, and we add a double connect, and then you can use
the center slider to basically evenly space
out this connection. So I'm going to probably connect it like somewhere over axial. Yeah, it needs to be quite
far out, something like this. Then I'm going to again select my edges and add another connect and this
one a little bit close. A little bit similar
to what we did inside of Enreel something like this. Now my idea was to
basically, first of all, push these up, and I can
see over here that probably I need to select these vertss and move
them a little bit closer. If you select both of them, you can just use your scale tool. Then my idea was
to basically go in and select all of
them and then add a chEmFR with like a
couple chmFs in there to make them round something
like you can see over here, maybe we are using it so we can just push it a
bit, something like this. So we are nicely just
like pushing it up. And then what I wanted to do is I wanted to add a bevel that basically does not exist here. So if I just select
both of these, if I just deselect these ends, and I wonder what
it will look like. So if I like probably like a
sharp bevel would be nicest. If I like arte bevel, Okay. And now it's up to
us to decide, like, how are we going to
merge this one together? I think what I will
do is I will quickly add one connect Let's see, can I measure that -55? And if I go, then this one should be like plus
55? Oh, no, wait. -55 is fine. There we go. Let's do that so that basically it falls off
a little bit softer. Yeah, you can see that I
can, later on, connect that. So if I just do, like,
a simple bevel like this and then go down
here and then just, like, use my target belt
to nicely push this into the end and also
on the other end, I think that's already
good enough for something that we
can barely even see. So, of course,
pick your battles. Like, I do recommend
that if you are creating this to spend a lot more effort into
these models than me. But I'm here mostly to teach and give you
a cool end result, not to go crazy and give the absolute best
end result you can ever get, so to speak. I'm going to go ahead and delete the ends
that we cannot see. And most likely with this one, we can still use a JEM fo, and it will read fine, like
we don't have to here or see. So just like, go ahead and
add our HEMF over here. And then we can also already add the weighted normals and then
just snap the largest pass. Yeah, that should be fine. So we have this one over here. Oh, hey, that is quite a large difference
over here like disconnect. Um, yeah, it's, like, a little bit larger, but I'm
not too happy about that. So let me just quickly before we do any chamfs or something, just go in, maybe go for, like, a front view and just move
this down a little bit. Like, we can make it
a little bit thicker. That is fine, but that was
a little bit too much. Here, this one reads a little bit better if we
do something like this. And if it looks
strange, right now, it still feels like a
little bit too thick, but later on when we have
everything finished, then we have a better
context to know, like, Okay, how is this going to work. So for now, let's say, Racine, let's have a look
at our blockout. The next thing
that we can do is, let's just go ahead and create this framing in between here and then in
the next chapter, we will just finish off
everything else, pretty much. So let's go ahead and
continue with that. So for these frames, what will make sense to
me is that at the bottom, they will just have a
frame sitting on top, which they have mounted. And then over here
this frame because, of course, you have this wood, they probably would have like carved in something inside of the wood to fit the
frame in because oh, well, maybe they have,
sawn it off like that. That could also
be an easier way, but I'm not sure if over here
like that will work nicely. Just because I feel like adding
a little bit more detail, what I'm going to do
is, well, first of all, I kind of need to know
the thickness of a frame. So here we have a frame. Oh,
God, that's really thick. Wait, let me just
grab a smaller one so that I can properly see. So let's make these
frames probably. Actually, yeah, let's make this like the bas ickness
of the frames. Then what I can do is I
can just make sure that it's exactly in the center and then just go ahead and let's delete my and now we can
just use our added pool. Describe my added pool and
just leave all the chafls and everything on there and
just place two edges here. I probably want to go ahead
and I probably want to place this up until this point, I don't know No, maybe not. Maybe just like lit
the entire way. If I want to go with
the entire way, I do need to quickly
move my frame up here, and I need to, like, place this in the correct position because
it shifted slightly. And same over here on this side. Yeah, something like
that should work. I will keep this
frame over here. Let's instead go in and lets you select this
edge and then hold Control and double click
to select the entire row. I'm just going to simply move
this up and then I'm going to use my scale tool to basically scale it
flat over here. Up until it's completely flat, and then I'm just
moving it up a little bit more. Something like this. It would take a lot of work for them to do that in that
time, but I don't know. I just have a good
feeling about it. And then at that
point, there will probably be some
messiness at the end. So let's have a
look. Oh, no, nice. So it did not create any
messiness at the end. Sometimes it creates some
leftover faces at the end. But in the latest
versions of Tres Max, I keep forgetting that it
doesn't really do that anymore. So, okay, we have a CEM fos. They are also all
working totally fine. So now we can pretty
much get started. So what I'm going to
do is I'm going to grab one over here. At this point, it's
probably easier if I actually already
place this beam, even though it's just
like a placeholder. I already placed over
here so that I know where the end is. Like that. There we go. And for this one, start by just getting rid
of those additional edges. And move this out over here. And I'm just going to
leave this one on top. I'm going to then place another one that's
going to be placed just below here. Why
should I do this? No, just below here.
And let's see. I want to have another
one that is going to be probably just above it. And another one that's
just going to be like feel like in the center, should I go for, like,
something a bit more artistic? It's just like I don't
have any reference. So over here, I can see
square, then these ones, it would make sense if
this one is square, the center, and the
rest gets cut off. So then this over here, somewhat does make more
sense to have it this way. So yeah, let's call it this. And also, what I can
see is over here, they have the beam,
and then they have these little
strips in front of it. So I'm going to probably go for that technique for this one. So that means, first of all, grabbing our beams over here, and I need to make them a
little bit thinner, like this. If you want, you
can also already go in and just add some swift loops to add some slight
imperfections. Over here. It's often handy
to keep in mind, like wood, it is
alive, like it breeds, so it often changes depending on weather
conditions and everything, so Of course, the older the wood, the
less it starts to change, but especially when you
just build something new, you always need to
keep in mind to, like, leave space for wood
to, like, move around. And that's when you know how stuff is constructed and
how materials behave, it's really useful when
you are a three artist, and you just kind
of like need to know what things look like. And it's totally possible for
wood to have even to have, like, such strong distortions
on like one length. Of course, I'm going
to make it a little bit less because it's old wood. I want to make sure that
it's, like, properly placed. Yeah. Now we can go
ahead and go in here. And pretty much what you can do is I'm just
going to grab like a line and just move the
line from here to here. Because with the line,
I can just add like a sweep and I can
make this a bar. And then over here, I can decide on the thickness and
stuff like that. So, it looks like I made it one. Yeah, I will actually
move the thickness. So first of all, I need to
just go back into my line. I will probably leave.
Do I want to leave it? Having a think here. I think I will stick this one out
a tiny bit over here. So that it still has some
kind of a connection point, but I don't want to really
clip it inside of there. So I think this should be fine. Now if I just go ahead and
also in my Sweep modifier, the width, I want
to make the width, like quite a bit thinner,
something like this. And then at this
point, I'm going to go ahead and I'm going
to probably just, like, can I just cut it in here? Yeah, here, see, I can
just cut it in here. So I'm just going to
leave it at this scaling. Go to move one here. I'm going
to add some chamfos to it. Got a lot of gem for
modifier to, like, save some time whenever
you're making some wood. Um, I'm going to
art and add a ply. Give it a few connections. I'm going to add the weight
normals, snap the largest, and now it's just
a matter of adding our array tool and
saving our scene also. So tools array. This time, I'm going to preview it, but I'm going to this time go in the X direction, I believe. No. It looks like that I
messed up my transforms. If that happens, you just
need to go ahead and go to your utility tool and reset
X form and just press Reset. Unfortunately, it does mean that we then need
to convert this all back to an added poly because
resetting the X forms, you cannot change anything below it anymore
whenever you do that. But now it should be able
to properly, preview it. You'll see now it's able
to properly just go this direction. Let's see. So if we go for something a
bit more square like this, then we can just keep adding
until we reach the end. Yeah, that's a nice position minus 385. Tiny bit too much. 384. Let's do 3835. Over here.'s press okay. And then this one,
you know what? Just move it a tiny bit. No one will notice. Okay, so
that is those frames done. I can go in later on, just add something
interesting in here also. Since we have more than enough geometry and why the hell not, I will also place this on
the other side. Over here. I feel like that might give
me an interesting look, although now I look at it, I might not actually like it. Hmm. Yeah, I don't know. For now, let's leave it.
For now, let's leave it. We can always duplicate
that later on if needed. Okay, so we got these
pieces over here. Now, what we'll be doing in the next chapter is we
will go ahead and get started by creating these pieces over
here and these ones. Shouldn't take too
long, so probably what we will also do is we will
also start preparing, like, our actual beams and making sure that all of
that is working correctly. So let's go ahead and continue with this
in our next chapter.
54. 54 Creating Our Door Part4: Okay, so let's go ahead and continue. We are
slowly getting there. I might not be the most
interesting modeling, but it will look
cool in the end. So I was going to make these
wood pieces over here. And actually, what
I see over here is that I can kind
of see the shape. Like this is like
the front view. I'm afraid that I do
not actually have a side view of what the
shape looks like, I think. But I can pretty
much make that up. I can use the concept for the side view and
take it from there. Anyway, if we know that this is roughly going
to be the front view, like you can see, it's sticking out and
just tapering off, and then it just has almost like a double layer
in between here. Let's go ahead and try and
make something like that. Now, when I see that, the first thing that
comes to mind for me is to once again
just use splines, for which I can go to
probably my side view and to see if I can create that shape and then
manipulate it a little bit. That would probably
go something with a straight piece over here. Then it looks like that
it goes a little bit like angles back in
something like this. Then I'm going to just
go ahead and click on here later on I'm going to
make this a straight line. Then there's the second one, which is somewhere over here. Click and then click like that. It looks really, really awful
right now, but don't worry. So if we now go to
a Basier corner, we can now go ahead and
start working on this. So we have this one,
and I want to kind of push this piece back in. And then over here, if I
also do like a Bzier corner, I want to go ahead and push
this one back in here. And what I will do is later
on I will make this square. So this almost feels like it actually needs to be a
little bit more forward. So it's like overlaying on top. Next, what we have is we need to move
everything down a bit. So next what we have is we
have this piece over here. Let's gain Bezier Corner. And also, we need to go
ahead and go over here. So first of all, let's
focus on this one, and it kind of,
like, sticks out. And it's just like
a nice round shape. So I can go ahead and
I can just go in here and try and carefully
capture that round shape. Now we are getting a bit closer. And then it kind of like, yeah, it goes down, which
is also fine. I feel like that I should move all of this down
because I feel like the bottom shape
needs to be smaller. Let's do a beset corner here. It's kind of like, actually, no, I'm going to
leave it like that. Let's work with this one. Okay, so that's
looking pretty good. And then over here,
we are going to make that square on the inside, so we can just kind of
like filter it off. So I'm just trying
to kind of, like, create the base shape
so you can see, like here, we are going to have that little gap in between. And then this one, I want
to see if I can maybe make it a little
bit I don't know. I still feel I almost
feel like all of this should move forward
a little bit more, and then maybe this one
can be lowered a bit more. Okay, so let's try
something like this. Now, having this
if I now go ahead and just because the ends, we once again are going
to make a different way. If I just do a quick
connect over here. And then, basically, oh, it's really, really small
and stuff like that. But we can work on that. I'm going to go
ahead and also have a look at my
reference over here. Yeah. Yeah, you're right. You're right, reference. It is ticking out a whole lot more. I feel like it's just this one. I think this one over
here is supposed to just stick out a lot more, and maybe then this
one goes, like, more like down into it. Better to make sure that it
is looking correct right now than to wait. Um, Yeah. That's already
looking a bit better. Okay, so let's first of all, now go ahead and just
try like an extrude. I'm going to go to my line, and I'm just going to make my interpolation a little bit less, which makes it a
bit easier for me to move some stuff around and then extrude
and then in here, I was going to go
ahead and I was going to basically remove these, and I'm only going to leave two edges left in
the center like this because that way it
makes it very easy for me to select these corners
and kind of push this out, and then later on,
we will just have bevels kind of
taken care of that. So that creates the base shape. Like, I'm quite happy with that. Yeah. I will go ahead and I will set my pivot and
first things first, I'm going to go in turn on my base and I'm just going to go ahead and already
place this one sort of like in location or in
position, I should say. Over here. This also gives me a good sense of the thickness
that I should aim for. So I'm going to
go to my extrude, make my thickness a little
bit less like that. And let's just go ahead and make some more edits. So we
have our added poly. I want to go ahead
and I want to create a edge or connect exactly
in the center over here. And then what I want to do
is I want to kind of create that sloping that you
can see over here. So for the sloping, most likely, what you can do is
just like deselect those edges and just push this stuff forward over here that should
already do the trick. Without interrupting
the center over here. And then we'll have a nice
barrel running along there. You also sometimes see like
over here, like these pieces, but I'm not sure I
want to bother with, like, creating those
little extra gaps. If you want to do
a gap like that, you can pretty much
just let's see. So it's pretty much like, let's say, chafing, a piece. Oh, it's really sensitive. 0.05? Yeah, it's pretty much like chamfering a
piece, like 0.03, maybe. And then, like, pushing one
of these pieces There we go. Like that. But when you do that, as you can see over
here on the side, we do need to, of course,
fix some stuff in there. So we have this piece over here. I want to know what it
reads like from a distance. I also want to just quickly check and see that
maybe we want, add some additional
details to this. I think that would be
nice if I just turn off my base door and turn
off my action faces. Yeah, although definitely what I would do at this
point is I would, of course, move this one down a little bit so that
it fits a bit better. But I think the general
shape is working quite well. I don't know if I
maybe want to like no, I don't want to
increase it a bit more. I do feel like maybe on the top, but I'm not sure if it's
already too late for that. Maybe right click Bezier Corner, and let's just try
to show the final, something as small as that
might make a nice difference. Make everything a
little bit more even. Now the next thing that we
are going to do first is, um we need to just fix this one, and we can do that just
by selecting it and connecting this insert
somewhere like that. The next thing is
going to be that I was going to go in and probably, like, create some type
of pattern over here. If I just have a
look at my backup, would I be able to maybe, reuse this one, along with, of course, some other stuff, but I'm just curious if I
can move this one here. Here we go. And save some time. So I will just go ahead
and I will do one. And I do quite like the
idea of having the shape, kind of, like, following
this shape over here. So let's go to our side
view and actually have. Yeah, like this.
But then over here, it would make more sense if this one just goes
straight until the end. And then this one goes in here. And if we then go in
and maybe, let's see. Let's try to maybe, rotate that If we
just duplicate it, let's just go ahead and rotate this 180 and just see what that looks like from the
side if I go in here, push this up, go into
my line and, like, see, try to select my line
and kind of try to push it into this shape over here. A like I just go to turn off my snap
rotate to make a bit easier. And I'm just trying to
make this somewhat round. So something like that.
And I don't know. I'm just having like
a think of, like, what else would be interesting if we should just leave
it like this with, like, a small accent or if we
should go for, like, if I just go ahead and use
a line if we should go for, like, something that's,
like, going here. I'm just drawing, basically. No, I'm going to leave it with, like, a small accent like this. So we got this. We can go in to our compound
objects pro Boolean. Actually, before we do that, make sure that it's actually
pushed in correctly. And then later we
will, of course, do a symmetry on it
and stuff like that. So pro Boolean,
advanced options, turn off remove only
visible and just get rid of these two ones over here. Yeah, yeah, that should be fine. I'm then just going to go ahead and convert
it soon at a pool. I know I did kind of
forget to create a backup. But we'll see how it goes.
I'm going to move this down. And this one, add a
quick cut here and here, and then just go ahead and
push this back in or back out, I mean, like that. For the rest, you can just do some smart cleanup
that we might need. Like over here, we
have some cleanup. And then I will probably
just pass the video again and fix the rest. But first let's just
turn off our edge and faces and have a quick look. Yeah, that looks nice
from a distance. I'm not yet sure if
this is too far, I might decide to
push it further in, but that should not
really be a problem. That's something we are going to we can have a look at later on. But definitely if
we look at, like, our original concept because there's another beam
sitting closer to it, that's what makes me
believe that it wouldn't be that big of a problem. The thickness,
however, is something that we do need to think about. Anyway, so we can
turn off our backup. And what I will do is I will
just quickly pass the video, and I'm only going
to, like, of course, on this side, clean
everything up. And once that is all cleaned up, then we can just go
ahead and symmetry it. Okay, so the cleanup is done. Now, just make sure
that your PIV point is exactly in the center. And then what you can do
is you can go ahead and do a symmetry and
if it shows this, just press flip to
flip it around. And now we have an
exact symmetry that we still keep that
center over here. Once that is done, we
can go ahead and well, actually, we can just
go ahead and convert soon at a poli already. And we need AHM f,
segments of zero. 0.002, maybe. It's still too much. 0.0. Oh, it's really T
one is really messy. Um, I will try to use Chen for and ls
I can just do by hand. But it does show
definitely some issues. Okay. So over here,
now it is pretty good. Yeah, so 0.001. So we
need to go really, really low. Yeah, let's do this. I do, however, the
convert to al poly. I'm going to go ahead and get
rid of the mess over here. Over here, I can see
that we need to, like, collapse these parts
because they probably just broke thanks to our pebbles that seem to fix
the problem there. This problem over here is fixed. Over here, I also don't
see any problems. Let's have a quick look
on the other side. That is all looking
totally fine. Okay, awesome. Let's go ahead and add our smoothing groups. So one and the same
star as before, double click, Deselect this one. Control, double click,
Deselect this one. Control, double click,
these like this one, and Control, double click,
these like this one. Let's go ahead and just set
that to zero over here. Weighted normals, and that
should be it already. Oh, weighted normals do create some messy smoothing in
some of these areas. I can try to use larger phase, but oh, wait, that's why. Because I forgot to turn
on smoothing groups. I was already thinking
like, that's impressive. But there we go. Over here, I feel like, oh, yeah. See, that should not happen where it just over here because of
the angle change, it just forgets that it needs
to keep going straight. So let's just add a very
quick chat for here. 0.001, zero, 05,
maybe. There we go. Okay, that's not
exactly what it meant, but we can just select
these Move them in. Oh, over here, I have
another one. Don't worry. We will fix the clipping
vertss later on. So for now, just do this, and
then we are just going to, like, merge everything that's, like, really close together. Just to make it easy. But yeah, we definitely need Come on. Yeah, we definitely need this. Actually, wilt is
still selected. I'm just going to deselect
the top over here. I'm just going to go
ahead and I'm going to. Ah, that's too bad. Well, actually, you
can convert it to vertices, and then you
can still scale it. For edges, they don't often scale well
whenever we do that. But here, see,
eedges don't work, but if I hold shift and then convert these to verts,
then I can scale them. At this point, all of your verts welt at
a very low level, 00005 or something like that. No, that's still
not it. Come on. It is because we are working in meters and not centimeters, but I don't really
want to bother. It is not allowing me to merge them together
at such a low level. What we can try to do
this sometimes happens. It's a little bit annoying. You can go to customize unit setup and set these to
be centimeters temporarily. Then whenever we weld, you can see that now
it's at centimeters. So now if I do 0.01 centimeters, you can see that it or actually, I can do 0.005 centimeters. You can see that it
registers a lot lower. So that's the benefits between
centimeters and meters. And I guess we are going
into a lot of small details. So at this point, we can
probably just keep this all to be um centimeters, so
that should be fine. Just make sure to
select the center and make sure to set
the smoothing to one for the center
because else it does not properly art smoothing. And there we go. Now we have
this defined edge over here. Don't worry too much about the smoothing that you see here. That's something that
we'll fix later on. I can see that over here, the smoothing is still won, so let me just reset it. One. Hold control, hold control. That one is going away. Hold control. Hold
control. And there we go. Okay, that is better. So now if I go to
weight normals. Yeah, that does the
trick. Okay, cool. So we got, this base
shape out of the way. And of course, this base shape, we can reuse it quite often. What I am going to do with
this one because we are going to have another pillar that
is sitting on top of this, but I'm just going
to kind of, like, literally sit it inside of it. So we have this one. And if
I go ahead and just, like, duplicate this, oh, turn
on my snap rotation. And I want to rotate this, and I'm going to basically
sit this a bit more on top. So I'm slightly
changing the design in the hope that it
still looks fine. Um, this one does not have
those effects on the end. I wonder if I should even bother keeping those effects all the way through to the end. I do quite like having
just these rings in here, but I might fade them out, but let's actually
see before we decide. So if I just go ahead and move this and
let's have a look. So yeah, this one
would go all the way from one side to
another, most likely. It's not that much higher. All right just go ahead
and have a look over here. Here we are definitely
going to just create a cut. I don't know what to
do with those lines. That's really annoying.
I think what I'm going to do is I might actually
get rid of them after all. I might go ahead and
just select by angle. Set the angle quite low to five, just so that we can
select this and then can press delete. Then go ahead and go to Element select because
now that we delete this, we can select these separate
pieces over here like that. Now if I go in, and
bridge this stuff. So let's have a look.
So if I do that, yeah, let's just do that. And then this is just
going to be wood that has been roughly shaped. I'm going to go ahead
and add two edges here, just to create that split. And then what we can do over
here is we can, for example, select these face over
here and bridge them, and then we can do a border
select by pressing three. These select these two edges, and then just quickly
bridge everything together. That's also how I did
most of my optimizations. Although over here, this one is also a little bit of a pain. So I'm just like
making this flat, and now I can go in the select these pieces
and bridge them together. Oh, and then this one
we can just do cappli. Okay, so let's go ahead
and center a pivot. Let's go in and do a
symmetry modifier, and this time we want
to flip it again. Covert ertapl Alta
weight normals and this time we do
not actually actually, let's do by largest
face probably. Largest phase just
doesn't work well whenever we have smooth
curves over here. See? With largest face, without. So that's the balance
that we try to get. But okay, let's say
that this smut works. That's fine. Now we have this shape and then
we would need to go in and place it in
the right location. First of all, what I'm going
to do is I'm going to move this in the right location,
which is roughly here. Now I can turn off
my blockout again. So for this shape,
select one and throw it into backup because we
might want to use it for different purposes
also later on. Especially like here at the top. I forgot that I need
to create some kind a cross section to hold up
the rest of the structure. But having this one over here, if we go ahead and just
convert it to an added pool, yeah, we do need
to cut this out. However, with all of
these additional shapes, cutting it out can
be quite annoying. Most likely, the easiest way
is to simply use a boolean. Normally, I would use
etches and stuff. The reason that I want to
use a boolean this time is because it will automatically place an etche on the inside, which I can then just clean up. So if I do this, and the boolean needs to be
quite close to the shape of like the beam that
is going through it. And then when we bevel it, it will look like it is
nicely just fitting. So if I now go to my
compound objects, pro Boolean and
just same settings as always and cut this away. Now we have something like this. You can see that
there is an error. This is most likely just because
of the smoothing groups. If I go ahead and art
weight normals over here, you can see that now
the smoothing groups do get fixed in these areas, just not over here
because we still need to apply some JAVAS. So let's go ahead and
select these phases now, hold shift and go to vertex. Give them a very small env. You can also have
a look in context, and basically, this
is what you want. You want to be able
to kind of see that it's giving like a
nice jam for over here. Let's go back inside
of isolation mode. I forgot to select
these corners. Jam for again. There
we go. Okay, cool. So now that we have done those, the next thing that we want
to do is we want to go ahead and I'm just going to place
a place two loops here, and then just go
ahead and select these two vertices
and press connect. It's another way of connecting
stuff compared to just using our Cut two. And sometimes it's just
a little bit easier when you only need to connect
like a few connections. And then at this point, what I'm going to do is I'm
going to use my cut too. And I just basically
want to continue this on because there aren't too many cuts that we
need to make anyway. And that should
do the twig then. Over here, what you can do is you can pretty much just
select these verts, collapse. I like to sometimes use
Altex so that I can just look through it
and then select these. Then just for good measure, I am going to go ahead and
select these and then do one. Oh, select these. You cannot do the Connect
tool whenever there is edges in between, but
something like this. Now, same over here.
Collapse, collapse, collapse and collapse. Plays a quick cut
to clean it up. And then later on when
we apply our weight, almost everything
will look nice again. Yeah, hopefully, when we
start actually working on those more metal bits, things will really
come together nicely. I'm just over here because I know from experience that's
going to cause problems. I'm just going to so place an additional cut
here. Same over here. I just need to kind
of move this down. Okay, that's now all clean. Now, for this one, it
most likely again, lost all of the
smoothing groups, but if we're lucky, we
are able to just select this area and apply
one smoothing group. And now if I just
go ahead and use smoothing groups,
let's double check. Yeah, it lost all of
the smoothing groups. That's a banner. That means that I just
need to go in again. Again, I need to select one, and again, I need to
hold Control click. And just turn off my
smoothing on those areas. And over here, let's
see, turn off. I also need to
turn off this one. Yeah, the rest looks fine. Clear this one and that one. And I already did
that. So now weighted normals use smoothing groups. There we go. That's
now looking fine. One thing, however, which I
was a little bit stupid by. So let's select by
smoothing group, and I want to go
ahead and press Okay. It doesn't work. You can actually press Select by smoothing group to select
the smoothing groups. Basically. One thing I was not
very smart with is that I, of course, need to apply
a smoothing group two. To these pieces because else
they do not look as good. But I can just do it now.
Smoothing group two. There we go. Then the transition
over here looks smooth. Anyway, that one is now done. You can now clearly see that they cut out the
shape over here. The last thing that I
would do is at this point, if I just go ahead and
go to Edge and phases, I would go in and I can probably just
do a quick slice by pressing quick slice. I basically just want to place let's say two
slices like this, and then I can go
ahead and use those to make my shapes imperfect
because especially this one, the shapes, they
are way too perfect and the lines are
perfectly straight, while they should be carved
and all that kind of stuff. Sometimes when you
get glossaries, you can turn on
Ignore Back facing, which makes it easier to
just go in and quickly drag and select some pieces. To add our imperfections, too. And we can see in and real, we might want to add more
or less imperfections. That's something that
we can decide then. For now, I'm just
placing the basics. Oh, hey, over here, I
seem to have a problem. In a way, that might be just
because I'm editing stuff, so it will probably be fixed
as soon as I stop editing. Okay, let's start with
something like this. Yeah, see. After the edit, everything is looking
correct again. There we go. Awesome. So,
we now got this one done. This one over here. I already got my
weight to normal, so that one is also
pretty much done. The only thing I
would need to do is I would need to,
like, symmetry it. However, in order for me
to symmetry it properly, I first need to place
another one here. Now what I can do is I can go
in here and now I can just do a symmetry modifier on the x axis and go ahead and push it
out a little bit more. So as you can see, it's
a little bit too short, so I'm just going to
push it back just because whenever we do this, it will, of course,
create a nice cut. And then if I just add
and di poly on top, I can then go in and
just go pretty much for my side view because these are almost
exactly in the center. So I can just guess And I'm basically just
looking at this bottom line, and that's mostly how I'm just guessing to have it roughly in the center,
something like this. Okay. And if you want, you can also press
control backspace to remove that center line. At this point, I guess I will need
another way to normals, but that should be fine.
That's looking good. And also, something that
I kind of forgot is that you can also add, which is actually a
really good one to add some incorrections in here. Oh, I did ignore backfacing.
Did it still connect? I had a feeling that it was still selecting
something else. But these ones, because
these imperfections, like you can see, very visible. Okay. And just when I said that, I realized that I made
this one a bit too strong. But it will art just like
some visual interest, especially when we do
our texturing over here to not have it as perfect. Okay. That one is now done. I'm going to probably
end the chapter here. And if we have a look
in the next chapter, we have like these base pieces over here that we want to do. And after that, we are going to, like, properly prepare
all of the large pieces. And then we are going to
move on to the small pieces, which will finalize everything
a little bit more by just having just like
interesting pieces on the corners and stuff like that, and
like these metals. Oh, and let's not forget that we need to create the
actual wooden door, but that one is quite easy. So let's go ahead and continue with this
in our next chapter.
55. 55 Creating Our Door Part5: Okay, so let's go
ahead and continue, mostly with, like,
our big shapes. By the way, why are you? Oh, probably because
of the symmetry. Um, you can add
the symmetry here. If you just track it below it, that should be fine.
Yeah, here, that works. Okay. Anyway, as I was saying, we are going to continue
by finishing just like our larger assets over
here at this point. So I'm going to
go ahead and, um, I have a feeling like
this beam over here, it might need to go
a little bit lower, but it's something
we'll have to see. Anyway, let's first of all, go ahead and just finish off these really simple pieces over here that shouldn't really
be that big of a deal. I could just grab, Hey, I can just grab
this one over here and I'm going to duplicate it, turn on my blockout over here. I think that's the one. Just going to go
ahead and get rid of that center line and
make it easier for me to move this in. Here we Oh, I was going to say, here we go, but I can't really see what I'm
doing. There we go. Okay. And this one will just,
like, stand on the ground. So I'm not spy. What I am going to do is I
am going to unlike the ends, create, like, some kind
of, like, metal detail. And that will basically just like I will add it
on the base over here, but I will also add it on
the tops and the ends and all that kind of
stuff just to make it look a little bit more
visually interesting. Because, yeah, else,
they are simple shapes. This is definitely not a
mulling tutorial, so to speak. Like modding is not a really important
part of this course, except for maybe like some
of the sculpting parts. But I still want something
that looks like a little bit more
visually interesting than just like the basics. If I make it look exactly
like the concept art, I would feel like I didn't
do enough modeling, so that's the
general gist of it. Just stick this one in here, and then later on what
we will, of course, do is we will push this inside of
the wood and all that stuff and just make it
a bit more logical. So I'm just going to go
ahead and place it over here also. And there we go. So for this one, you guessed it. Throw in a bunch of segments. I'm going to go ahead
and make this one go quite bendy like this. Maybe push one of these in. I can go ahead and also push these in over here and
maybe let's grab these, move them down, and just move
this one down over here. Easy, does it? Just
like some small stuff. Then later on with the textures, we will just make this look
more interesting basically. Because a lot of this door, it's going to be about
textures, mostly. I think this entire environment is more going to be like it's wy texture heavy in terms of just
a general look of things, but it should be fine. Because the nice thing about textures is you can just keep polishing and polishing until
it is pretty much done. And that's also what I'm planning to do on
this environment. Like, normally, when
texture is like 70% there, I'm like, Okay, I show to everyone whatever
I want to show. But this time, what I want
to do is I just want to do another double take and just make sure that I
polish my textures, even if it means
that you guys get like 20 polishing chapters
or something like that. It's just like it will just make the final result
look a little bit nicer. I'm a big fan of Japan, Japanese architecture
and everything, so I like doing
this kind of stuff. It's too bad that
I nowadays don't have time anymore for
personal projects. Else I would definitely make
a Japanese personal project. So the stuff that
we have over here, I'm basically going
to grab these pieces, and I'm basically
going to insert it in. So you can imagine that
like wait, I have a backup. Perfect. That's why
we make backups. You can imagine it that we
have this piece over here. I'm just going to drag it
into my default layer. And it's basically going to
hang out right about here. And in terms like how
much it's sticking out, yeah, something like
that should be fine. And it will basically,
if we just go ahead and temporarily remove
the weighted normals, the symmetry
modifier. Over here. I just kind of like place
it into the center. So what you can
imagine, quite simple, because it will also be
very difficult to even see, so we don't really need to
spend too much time on it. But we are going to, like, cut our wood to make place for the shapes that it,
kind of, like, holds. Whatever we place on top of it, it will kind of, like,
hold it in place. So that was my general idea
for this kind of stuff. Just going to copy
over this weight nos modifier and the
space to make sure that everything is
correct. Over here. And yeah, I just feel like that over here, you
can kind of see it, but also in other pieces like you can kind
of see like that there is something that's kind
of like holding things up, it's always like
a cross section. Although over here, this is
also something like we are going to split our roof
also up into two pieces. We have the wood underground, and then we'll have the actual tiles sitting on top of it. Okay, now, let's go ahead and probably start working on the door. Yeah,
let's do that one. For me to know what
to do with the door, what I first need to
do is I first need to go in and I need to basically I grab a
bunch of this stuff. What I can do for now is I can just because this is
just like a placeholder, but I need to know how
far out this stuff is, so I can just go ahead
and duplicate it. Go to isolation mode over here, and then just select
one of the pieces, convert it to an added poly, go over here to the
attached settings button, and it will only show
whatever we have isolated. So you can literally just select everything, and there we go. And now, if you want, you
can just quickly throw on a new weighted normals.
That doesn't really matter. The goal for this is
basically that what we can do is we can use the mirror
mode over here at the top. We can mirror this on the
x axis and just press. And then it's just a simple
matter of placing this into place like here. There we go. Now we
know the size of our door opening. You
know what I'm going to? Yeah, it does not
feel in the center. Let's just quickly
unfreeze everything. I'm just going to
go ahead and go to my center view because it just feels a bit easier
if I just place everything like
this in the center. And now I can freeze
my block out again, but you can see me just, like, often turning
it on and off. So here we can see, most
of the stuff we have done. And it is ready to go, although over here, there
are some changes, so we need to check with our
door or check with our roof. But anyway, now, if we just
go to the top for our doors, as you can see, the way
that the doors once are pretty much worked up
is that the frames. They have a little
trim. Everything just kind of comes together in, like, a nice corner over here, and I can also create, like, a small bevel in the corner to, like, indicate that stuff. And for the rest, it has, like, base panels
squashed together. And most likely you will
have the door frame. A base panel, and then
on the other side, there will be the exact
same door frame again. So that's basically
what we're going to do. And then we are going
to just kind of, like, use this pattern that we
have over here and later on add some metal
details for fun. And just to make it
look more interesting. I don't know about
that resolution back that I have, but
it doesn't matter. I'm just going to grab a cube.
Now this is interesting. So over here, I want to, most likely, do I want to have this
floating a little bit? So if we don't float it, basically what we will need to do is we will need to
make sure that we are, like a little hole over here to compensate for that stone, because, of course, the stone is kind of like
clipping into it. I'm okay with that if we
just like art that little compensation it would make sense to me that in real
life, they would do the same. Of course, something that you don't see in my reference is that we need to create
really large door hinges, and it's really hard to
see in most locations, but because mostly
on the inside, well, this is the
really modern one, but here you can
kind of see it, see? So you see this metal. The reason I'm saying
this is because it does mean that we might want to create over here,
a tiny separation. So while having this, although the hinges
we will create when we do all of
our metal stuff, I can go in and I can just
kind of, like, scale this in. And I want to scale this to, like, just like a really
like a small bit. 99. Can I go 98? Well, maybe 97 is fine.
Let's have a look. Let's place this
into a position. And funny enough, I can see over here that it actually
fixes these problems. I'm not a fan yet about this, so what I will do is I'm
just going to go ahead and select these etches, and I'm going to move
them a little bit closer, just before
the concrete. So this is like a
lucky accident, actually, that we
don't have to do that. Now, the reason I
made a fill cube is because then I
can just create a simple connect here and I can delete one side because we're only going to make
one side of the door. And then I can just
go ahead and I can bridge this phase to
make it fill again. Now we are going to decide on
the thickness of our door. Now, I would say
that the inner piece is not going to be very thick, so we can make the inner
piece, something like this. And it is more about the
pieces that are dded on top. And I'm just checking like there is still some space left. So I'm going to go ahead and I'm going to make
this a little bit thinner, and later on, I
will symmetry this. So basically, we are just
going to go ahead and create this pattern over here. And take it from there. So at this point, we do want to try and make
everything quite even. So what I will do is
I will go ahead and place the base thickness using
two connects on the side. So this is basically what is going to decide
on the thickness. And I feel like something like 85 is a little
bit too thick. Now, wait, maybe 85
is not too thick. Now, let's go for 85 over here. Okay, so we got that one done. Now we want to go ahead and also create two
connects over here. As you can see, 85
wouldn't really work. Instead, what we will do is
we will basically guess, and then later on we are going
to make changes to this. You can see that over here
now we have two more. So I'm going to go ahead and start probably with
the first one, which is going to
be the bottom one. For this one, let's say 40, and then over here
and over here, we can do another one. Once I've done that, I can
see that 40 is too little. Let's try again. No
40, let's say 35. I think 35 should be better. Again, add a single
connect over here. Then with these
pieces, we can also go ahead and select them when you are champing a edge
that has no corners, you will basically
just split the edge into two, you can see over here. Don't worry about the
thickness right now. That's something that
we're going to work on. Something like this. Also, what I don't like
is that these ones, I still feel like they need
to be a little bit more down. I feel like that it was not
perfectly placing everything. Okay, we got this, and
then we have a center one. But at this point, basically, I often use shapes
where is my front view. I often use shapes to
measure out other shapes. So I would often just simply
create a box over here, and then I would use
this box and move it around like over here. Okay. To make sure that all of the sizes
later on are correct. So I just place these boxes, and then I can simply alter
our edges a little bit. Here we go. So now
it's just a matter of selecting these eedges
and moving them down. Of course, this is not a type of project where I would go on the centimeter correct
or something like that. So it's more like
if you cannot see it with your eyes,
then it is fine. But it would make sense for
these pieces to all have a logical similar thickness
over here. There we go. So we got that one done, and
now we can just go ahead and maybe except
for one, delete it. And then over here, we have
one line in the center. You can see that over here.
It's only the second one. And I quite like that. I'm just going to go
ahead and I'm going to add two connection
lines in the center. Just push those back in. Here. Then just go ahead
and grab this cube. This time because it's
exactly in the center, I want to place a
cube in the center, select the two edges,
convert this to vertex mode, well, I've shown
you plenty of times right now and just
scale this in. There we go. Nice.
At this point, all I will need to do is
if I just go ahead and select by angle and
set the angle to five, I can just select the
entire front face. If I then turn off
select by angle, and I basically want to go
ahead and deselect this one, this one, this one, and this so all that we have
left is these few pieces. Now at this point, I'm basically
going to use a series of extrusions to create
this piece over here. If you want, you could have
also just gone in and do, like, separate planks
or something like that. But often for me, this is just, like,
totally fine. So I'm going to go ahead and I'm going to extrude the first one in or out, I should say. And this one, it is
pretty much going to be. Yeah, shall we do an insert? I'm just thinking of,
like, if I need, like, an insert or not or
not. Let's do this. And then I'm just gonna go ahead and I'm doing another extrude. See, I can just go
ahead and hold shift. Might be easier in this case. And yeah, let's do this. So this extrusion is basically
the top end over here. The reason I left
another edge around it, although we need
to have a look at the weight normals
is so that we can insert this edge to make it
seem like it is tapering off. So this one basically
decides like the thickness. Now, at this point, what we can do is we can go ahead and do an inset and just go to inset settings because that's
often easier in this case. And we are going to decide
on our inset amount, which is going to be around
one point I was 1.5. 1.5 looks pretty good, so we
can go ahead and do that. Then we simply want to move it forward to create that
bevel that we have. Now it often happens that there's one last very
small inset at this point. Of course, these are
really small eedges even though we need
to baffle them, of course, it's a
willy big door. So having that extra
bit of polygon count, not that with nanite it matters, but it also just in general doesn't really make
a big difference, even if you don't
want to use nanite. Now I'm just going
to extrude this out one more time over
here, and that's it. Now the next thing would
be that of course, we need to go ahead and place some edges around
here and everything. And it kind of depends like
you need to kind of look at the flow of the
wood, and these edges, they will just be like
Willetin inserts that we can use to just improve the look. So here, this one, I would say that this is going
to be like one beam, which means that it
would go all the way along here and
then also over here. I'm still wondering
would placing just like individual planks
have been easier? I guess just doing these corners is a bit of a pain if you
do individual planks. Now, over here, we can go ahead and
actually do the same thing. We can pretty much just
follow the structure. Those ones, I will probably go ahead and
move up a little bit. Let's now ignore them just
focus on these areas. Okay. The door is definitely
an important piece because it's such a large asset. So also make sure to
add like imperfections once we're done with this
and all that kind of stuff. So for these ones, basically
what we can do is we can go ahead and we
can cha for this. And chafer it a low level. If you have some problems
with how it connects, you can try to go over here and set this one to triangles, which will often do
like a sharper chamfer. I think triangles is not
really good right now quads, also. Uniform or triangles. Yeah, I guess although the triangle geometry
is not as nice, I guess it does read a little bit better in
this specific case. And I want to make
this like waiting. I'm going to make
it a little bit wider to get started with. And then I don't think we can try hold shift and
switch to polygons. No, it doesn't
work. Basically, I was hoping that we could switch, but because of the triangles,
it does not switch over. We are basically going to,
like, select this piece. And then what we can do
is we can go in and we can add our Well, we can often just
literally do like a bevel, because if you do a bevel
on the local normal, like a very low value. So it will basically insert and then it will instantly create
a little bevel over here, which often reads a little bit better than trying
to do some kind of some kind of inset. The only thing
that's a little bit of pain, as I said before, is that we need to also work with weight normals
on this asset, but that's something that
we can focus on later on. So here you can see
that I even still have the bevel selected. It's not really needed, I guess. You can just, like, do this and to make your
selection easier. But it will take a
while to select this. And I think for my
weighted normals, I want to twin and use a
chamfer note just because it will save quite a oops,
quite a bit of time. But we might need to do a
bunch of them manually. Normally, I don't
really mind manually. Like, I'm artist like if
I get into modeling mode, although right now I'm
not completely yet into the modeling mode because, of course, I'm doing a
lot of other stuff also. But if I really get
into the modeling mood, then often I do not really mind just spending an hour
on a very basic task, just because it's in a sense, it's relaxing to
just do some stuff. Only, of course,
you wouldn't want to do it if you're in a rush, which I kind of am because
next to making these toils, I'm currently also leading an entire studio with multiple artists and
stuff like that. So it does mean a little bit less time
for tutorials lately, but I'm still trying
to give you guys the best possible
content I can create. And that's why I wanted to show you so much new
stuff in this tutorial. But yeah, the modeling one is definitely not one
of the new things, except that I'm using Trees Max, which not many
people will be used, but it's actually my
preferred modeling software. But most people use Maya, which is why I often
also tend to use Maya. Okay, so let's do a bevel. It will still remember
over here our settings. And now at this point,
you kind of, like, can make a choice or we can go ahead and hold
Shift and then grab these edges and then chat for them to basically already
have a chat for here. But that does mean that
we would need to do all of the other
jefas also by hand. So have a little think about it. I think that this is probably
better if I do it by hand just because else I have so
little control about stuff. Over here, I do need to choose
where to create a Jefa. So you kind of want
to grab these lines, and you kind of want to, like, decide Oh, hey, I completely forgot that
on the corners of the door, of course, like, because we beveled it that those
corners are also beveled. I'm not sure if I want that. I'm not sure if I want that, no. Because the corners, there wouldn't really be a
reason for them to bevel, but I can just go in and
I can simply move this. Although then again,
I guess, yeah, the reason why they would
bevel is because of, like, the inserts over here. But what I'm going to do is I'm just going to go
ahead and I'm just going to unbevel them simply
by moving them and making them pretty much
aligned flat again. Here we go. Yeah, that
should be better. Okay, so anyway,
for these pieces, we want to decide if we
have a line over here, it would make sense
to make this line also horizontal
instead of vertical. So I can go in here and I
can make this horizontal. Now, over here, this line, we have most lines
running over here. So it would make sense to
maybe make this line over here vertical and this
line then also vertical. And just for good measure, I will also make
this one straight. So you can basically just
go ahead and select these. So these go vertical. It does that because it's trying to go all the way around. Since I don't want
that, I'm just going to go ahead
and just select the back side and just
delete it just to avoid it, trying to, like, loop
all the way around. So anyway, these ones, we will make horizontal. These ones will we con
vertical. Ham for it. Unfortunately, I
did not remember the original chaMF size, but if I just have a quick peek, I can probably think of that. 3.5 something like
that. Should be fine? Oh, turn off select bi angle. And yeah, I should be
able to just, like, go all the way down there,
and that should be fine. Just need to finalize this one. And then do another bevel, and hopefully it remembers
my bevel settings. It does. Who shift. And once again, art the chamfer. Oh, yeah, so that's why
the chamfer was so low. Over here. Oh, God. Didn't work. Yes. Now, over here you
can see that we have some really sharp
edges over here. Those are also not very handy. What we can do is we
can press contre, go to weld and see if we make the weld quite low,
see at what point. Okay, so if we do 0.06, I need to make sure that I'm
not welding anything I'm not supposed to weld if
I make it this high. So I want to just
make sure, but it can save us quite a bit of time cleaning up those
really small areas. It looks like this is fine, so we can just go
ahead and press Okay. And let's have a look
and let's have a thing. So if I just turn
off Edge and vases, you can see that
now we have a door. You can see over
here clearly that we have all of our
segments ready to go. I think that that was about it. I really like this door texture. Like, I will probably try to make something like
this where like, the wood kind of
like start peeling away to be like cleaner. We need to make that system
anyway for the tips. I think that's about it. Yeah. So at this point, we are going to focus
on creating our bevels. Now, for creating our bevels, let's just go ahead and
go to Edge and vases. Um shall I think I first of all, I want to focus probably
on the smaller ones, and then the bigger ones, they are a little bit
easier to do later on. So these ones, it looks like
that I am lucky where I can just double click
and they loop around. Am I also that lucky over here? Yes, I am. Oh, that's really nice, but they
managed to do that. So I basically place
all my bevels, and then I will go
in and I will just make sure that there
are no problems. A tiny bit of messy geometry
for this scene is okay. Of course, if you are working
on AA game or something, you want to spend more
time cleaning it up. But you will have, like a lead or like a technical
artist telling you that. However, for this scene, just save some time because
I'm not optimizing my models to basically have as little
geometry as possible. I can be a little
bit more flexible that if you don't see it, I'm not going to really
bother changing it. So this one like a We thin
edge, okay? That's fine. Like, stuff like over
here. Like, if later on, if we don't really notice it, then I'm not really gonna
bother changing it. We have this corner over here, and then we have
also the corners, the real corners
sitting over here. Now the thing is, when
we select these corners, when we start, it's
really sensitive. I want these ones to be
a little bit bigger. However, whenever
we place bevels, it can break our selection. So right now I want to make
them quite a bit bigger, just because these are like
the ends. But then over here. Okay, so this one
is fine. But here you can see that here it broke the selection because I decided not to select all
of it at the same time. If you select everything
at the same time, you will not have
broken the selection, but you, of course, don't have control over which edges you want to make thicker or which you want
to make thinner. So we have these ones over here. I'm just going to go ahead and already give those a chamfer. And here, this is what I mean, I wanted to make this one quite a bit lower,
something like this. And now I need to
have a little thing. So we have here we have a
corner. Here we have a corner. And actually, you know
what, these ones are also classified as like corners. So I probably, I
need to over here, we need to kind of
just continue it. I am going to go
ahead and there. I need to get used to keeping
track of so many corners. It is definitely like a skill. I'm not saying that
I have mastered it, but I do often just keep in
mind all of the corners, and then we can
just continue on. The only thing is like
here at the backside, what I'm going to
do with those is because I'm going to insert it. I will insert it, and
because it's so small, I will make it a different smoting group so
that basically it doesn't get cugt up with
our weight normals. And that's just a little bit of an easier way of doing things
for that specific piece. I will show you what
I mean in First, I'm just selecting all of these. Yeah, I'm on purpose
just selecting these just to keep my topology clean compared to merging something already together
into, like, corners. Um, speaking of clean topology, I feel like I've got something.
No, here on the end. Well, over here,
there is a problem, but we are going
to use symmetry. So that problem will
resolve itself. So let's just go
ahead and continue. Sometimes it doesn't
allow me to select. Come on. There we go. Just because when it
has so many selections, it sometimes gets a bit confused about what I want to select. See? That's what I meant. So you need to be extra sure that you are
selecting and correcting. I'm on purpose selecting
everything right now because it will just make everything
flow into each other. If I don't do that right
now, it will just be so messy to work with to twine, like make everything flow into each other and all
that kind of stuff. It does mean it's a bit
boring selection work. I could pass it, but
you could skip it. Because some people
might still want to, for some reason, see this in, I don't know if I come across
any problems that I feel like just mentioning or just stuff I feel
like mentioning. So for now, let's just go ahead and do it because we're
almost there anyway. Oh, yeah, this one, and
that one goes in there. Then here we have this one and this one going into
the corners over there, and this one for the top. And this one goes all
the way over here to this side. And let's see. Does that do the twig?
I think it does. Now I'm just going
to go ahead and I'm going to add my chamfer. I'm going to make
it nice and small. It's like it's just there to
support the weight normals. I want to just go
ahead and make sure. Of course, the easiest way
for us later on to see if there's a problem
is to simply apply our weight normals, but while I still
have things selected, I'm just like double
checking my work. And this is why. Here, you can see that I forgot
the entire etch. And that is why we
check our work. This one, yeah, we also need
to do this one, actually. So I literally forgot
the entire etch. This is all looking fine. Once this store is done, then we will go ahead
and just finish off this chapter because
this chapter is taking a little bit
longer than expected. This one is also fine because
it goes over to those ends, so yes, press Okay. Now. The last thing
that we had we had over here a little trim that I
wanted to make it go inside. And once that is
done, I'm also going to go ahead and I'm
going to already give it the correct smoothing groups because now I have
everything selected. And I always like to
avoid needing to select stuff twice if I can. One thing I'm not a big fan
of is just endless selecting. If it's more than
just selecting, it's fine, but if
it's just like, click, click, click click, then it's a bit mad. Extrude settings, set
this to local normal, set this to zero by default, and just go ahead and,
like, push this out. Like this so that
it goes inward. Then what you want to do is
you want to just go ahead and press grow up here and we are basically growing this
until we have all of the frame selected. Then we can just go ahead
and go to our top view and just deselect the large bevel, so that all that you have is the insights over here selected. And with these insights, I'm
just going to go ahead and press clear and set
the smoothing to two. Then I press contra I clear
again as smoothing to one. Now comes the moment of truth. If I forgot something, we
go to weighted normals, larger phase apply
smoothing groups, turn off edging faces. And this is what
we got right now. And it seems to be
looking pretty good, like we got definitely like
our clear cuts over here. So that's a great
place to later on art some dirt and all that kind of fancy stuff. So
I'm happy with that. Now, knowing that,
I'm just going to go ahead and get rid of my
weight normals again. And I just want to go in
and place some edges. Looks like that those
edges don't work very well because we broke
all of our connections. So instead, I'm just going
to go ahead and place like two connects here,
two connects here. To connect here. Yeah,
that should be it. And now I can just
go in and I can basically add some surface imperfections and
stuff like that. Let's turn on Ignore
Bg facing for a moment and just push
this stuff back in. See, I do want to
spend a little bit of time just like making
this look extra nice. Adding small details
and stuff like that. I might need to later on, of course, redo the
smoothing groups, which would suck because it means like I need to
do a lot of re selecting, but I got an idea of how we can easily select it in
a way to make it. Work better and faster. Sometimes I do need
to make sure that I turn off ignore back facing so that I can properly
go over here and, like, make some changes. Mm hmm. I know. Actually, on the
top and the bottom, I kind of want to avoid adding any imperfections because I
know that we are going to, like, add our hinges
and stuff like that. But in general, this is
starting to look up. To be quite nice, we got some nice subtle
changes going on here and there, which is good. Maybe also do some changes
in the corners over here. Oh in general, make the boot
a little bit more uneven. Okay. So let's go ahead
and go to our select. And luckily our selection
modes are still intact, and it looks like
that everything is also still intact
with our smoothening. So we can go ahead
and just press use our weighted normals. And then we can go
ahead and save this. Okay, cool. So we got
our base door now done. Now, all that we need to do
is just center the pivot. Add a quick, once again, delete your weight normals. Add a quick symmetry. Click on it and just make sure
to move your symmetry out. And I feel like
let's have a look. If I can go ahead and do it. Are there some doors
that are, like, open? Um, I mean, this one
is technically open, but it doesn't really show me
the thickness of the door. I just want to know, like,
the general thickness of the door or
something like that. Okay, here I can sort of see it. Well, not really good, and
I think this one is metal, but, I mean, just give it a try. Like, if I go by feel, I would say something like
this should be good enough. So let's do this. Wait normals,
snap smoothing groups. And let's call this one done. All we need to do
now is just, like, place it nicely into the
center of our beam over here. And then one last thing, what I recommend is if you
just center your pivot, then just go ahead and go
to your front view and just move your pivot over here, just on the outer
edge like this. This way, if we turn
off moving our pivot, it makes it easy for us to, like, open and close the door because later on we are going to export these doors separately so that we can open
and close them. But for now, the
reason I want to do that is because
I want to make a copy Rotated 180 exactly. And then these should touch
in the center, pretty much. Like, there can be a little bit of space in between.
But there we go. Yeah, that works fine. I might want to, like, make the imperfections a little bit stronger, but that
is looking good. So let's go ahead
and save our scene, and let's go ahead and continue
on to the next chapter.
56. 56 Creating Our Metal Details Part1: Okay, so let's go
ahead and continue. So we pretty much have
all the large shapes, as far as I can see done. Now what we need to do
is we need to prepare that one main pillar just
by cutting holes into it. Let's check. So yeah,
we got the door, side pillar, these
pillars, this. I guess I can also
look at my blockout. Yeah, looks like
we got everything. Nice. So at this point, I am actually going to go
ahead and I'm just going to delete my block out because
I no longer need it. And so, yeah, we have
this pillar over here, so I'm just going to go
ahead and quickly cut out some shapes from that just by adding
some swift loops. It's always a bit hard to see exactly where you want
to place the swift loop, but So we have one here. One over here. And then here, I'm just going to
move it like this. And this it's almost unfortunate that it's not
exactly on the same length, but I think that should be
fine. Place another one here. Another one here.
This middle line, I believe I do not need it anymore so I'm just going
to press Control Backspace. And also, I'm going to
place another one here. There's a lot of
holes into this. First of all, let's get
sized by the bottom one. So if we just select an
edge here and edge here, we can grab these ones. I can just move inside. And then once, of
course, the bevels come, that's when everything. And sometimes I
still press Altex. Once the bevels come, that's when everything
looks more correct. And now this one over here, I'm just going to go
ahead and move these to the side instead
of needing to add entire new lines
and move this one. To the top and to the
bottom over here, which means that now I can just go ahead and
I can move this. And I'm on purpose, not
going to move it beyond this point because I don't want to create any type
of weird clipping. And now we have this one,
so I'm just going to place one line here, one line here. And
now let's see. So first of all, we have
this one, you can do this. And then we also have this
side, you can also cut in. So that's where we will place
some bubbles over there, and then we move on to here, and I'm just going to move
these lines closer together. And this one definitely it will have a bunch of empty space,
but that should be fine. It should actually look good. But what I want to do
is because this one, it doesn't extend out as
far, I want to push this in. And then I want to grab
this piece over here. It's just isolated. And I'm just going
to go ahead and I'm just going to convert salt at a poly and do like
a border select. If I then just do, actually, I need to do this
on my side view. If I go to my side view,
just hold Shift and just, like, either move
this in like this. And I'm just gonna go ahead
and once again, like, add a smoothing of
one except for well, actually, you know
what, at that point, I don't really care because I cannot really see it anyway. So I'm just going
to go ahead and re art my weight to normals, just so that it shows
that it goes inside. Now, what I can do
with this one is I can grab these
corners over here, just to make everything a
bit more interesting and add a quick cha because I would
guess, like in real life, if they would carve this out,
they would kind of, like, try to carve it out roughly
the way that the shape is. So it would make sense to have,
like, a corner over here. This one, I'm going to go ahead and we can just keep it square. So let's move all
of this closer. Go and then this one can go in and then this shape over
here, it needs to also. Oh, no, actually it is
pushed in far enough, so we don't need to
worry about that. Okay, so now the last ones. These ones, they are pretty much going to be
cut all the way through. I think that would
make most sense. So for this part, it might be easier for me
to simply do a boolean just because I'm cutting
so much out of it. So if I just go ahead
and create a quick box. And just place the box
along the shapes over here. Go ahead and center to object, and then rotate shift
to rotator box. I moved over here, and now
we can select this piece and we can go ahead and we can go to our compound objects. And just go ahead
and select that. And if I now go in and just double check, that
seems to work fine. Covert soon add a pole. Like all of my smoothing is really bad right now, but
don't worry about that. I'm going to go ahead
and select everything and just do a weld
on like a low level. Doesn't seem to
make much changes. Then we are just going
to go ahead and use cutting tools to
basically clean up. And sometimes we don't
need to use cutting tools. Here, you can see that we can just merge it all
together like this. I do want to make
sure that there are no double vertices, see? That's why I wanted to
make sure over here, And these once we could
also use some cutting. Here we go. Now, we have
this bevel around here. First of all, let's
go to selection, and just with the
edges at the two, we can just select like
some of those error verts. Having a bevel here, I'm going to clean it up after I placed the rest of my bevels. So this one, we are going to go ahead and just play
some manual bevels. So if you have this, what you can pretty
much do is you can pretty much select
the entire thing. And then the select the
outer edges over here. And there. And I believe that
it's already good enough. So if we now go ahead
and do a chamfer, like quite a low level, you can see that that kind
is already good enough. So let's just go ahead
and place our bevels. Here's another one,
select D select, and it should remember my setting, so I can
just press Okay. Next, we have this one. Another technique. What you can do is you can
select your face. You can press grow and then hold Shift. A, that's too bad. So it doesn't seem like I was expecting that it
would select everything, but I guess it's still easier
to just use this technique. Over here, Hey, I just ignore those really weird looking normal details and
stuff like that. Those are just because
we did a boolean on this and it really does not
like us doing booleans, but I'm not really
in the mood to reset it yet until
I actually have placed all of my chevas
because once I've placed them, I can just simply
do weight normals, and it will fix everything. This one over here at the top. Actually, I'm going to do
a tiny bit of cleanup. I'm just going to go ahead and weld these down because most of these etches or vertices,
they are unneeded. And it will just cast
like messier geometry. So it's easier to just do this. And now if I go
ahead and try again, so let's go in here, select. I'm going to start by just
deselecting that stuff. And this one so that
I can focus on here. At this point, I probably
want to make it a little bit bigger
for these ones. And then over here, what I
can do is I'm going to select this hold shift just because it's a pain for
this one to select it. Using the same way that
we selected it before, so let's just do this. One sec. I'm just adjusting my
microphone because I have a feeling like it's not
really close enough. So I hope my audio is correct. But that's always a tricky thing whenever we're recording like. It's really hard
for me to know if my audio is correct
until after I record it. So I'm just gonna select
these and just hold Shift, and I'm basically just doing
that just to save some time. So we now have these ones, and now I can just go
in here and I can do, like some manual selections And just give all of this, like, a nice bevel if it
doesn't have one yet. So, let's see. So we go
around here. Oh, wait. Here we forgot some.
We go around here. There. Okay, that
should do the twig. So let's go ahead
to alter chamber. Just go to double check that I make sure that I did
not forget anything. Yeah, that's fine. And also
really small edges like this, although I'm not
really a big fan of this one over here
in the center. But these small ones
in the corners, you can often just leave. The ones in the
center are also often fine because whenever you import a model inside of unreal
engine, it triangulates. But the risk is that
if we import the model inside of substance painter and also inside of unreal engine, it might triangulate one, which can cause problems
in our smoothing. So that's basically
why I want to always connect it in here so
that I have full control. At this point, we can
use weight normals, snap the largest face, turn off our etches, and
just like, have a look. Seems to work fine. Let's go ahead and have
a look in context. So yeah, these ones look nice. Over here, we definitely have
the holes, and of course, those holes will get
enhanced whenever we add dirt and everything around them. That's looking pretty good. Okay, nice. So that is also done now. Now at this point, what
I want to basically do is I want to go ahead
and get started with, like, all of our metal pieces. So for that, we need to
have a look. So what I was thinking is like I want
like a round metal piece. And for that, let's have
a look around, like what? Um, maybe this shape. I feel like I want to do a
little bit more simplistic. Let's have a look. Oh, having some metal bands around something is also
quite interesting, but I think it would
work better with round shapes to have
those metal pieces. But I can have a think
about it because you often see those metal
rings around stuff. Um, I will probably go for, like, a shape,
something like this. Just because it's like
a nice small shape that we can use over and over again without really seeing the repetitive nature of it. So that's the one for that. I need to create some hinges
for which I will need to probably grab some
better reference. So some hinges for doors
because over here, it's a bit difficult to see. So we will do that.
And I wanted to also play something that is
like on square corners, like you can see over here, and I wanted to be able to use on both the
bottom and the top. And for that one, this one is almost
like too easy. I do want to have
something a little bit more visually interesting. Um, I might use
something like this, but I might simplify
it a little bit. That's probably the best thing. Oh, no, was actually, this
stuff is quite cool over here. Yeah, you know what? I'm just going to go ahead and go for
something like this. Like, it's a little
bit more simplified. I think that will work nicely. And the nice thing
is that we only willing to create
one side of it, and then we can simply use symmetry to copy that side
over to all of the other side. So, that's the plan. Let's go ahead and get started
with a small one, which can be like
that little rounding. So I'm just looking
at my reference. And let's go ahead
and get started. So for that one, we are going to make use
of making it as a hi pool. However, we will keep it
at a really high pole, a little bit similar
to our stairs. So if I just go ahead
and go in here, I want to get started
with a simple sphere. So let's grab a sphere, and I'm just placing it
somewhere in the center. Now, something that
you need to keep in mind is that we are
going to extrude this, and we want to take
out these shapes. So depending on how
many sites we have, that's also how many
of these little flower petals that we will have. And to be honest, what
I have here is fine. Like, that's a
pretty good amount. So what I can do is I can
go ahead and go in here. And well, actually, we don't really need
to place in here. All I want to do is I
just want to check like, it would become a
little bit smaller. And the reason I want to
try and get it similar. Like, it doesn't have
to be exactly as small, but it's nice you already
know the scaling so that we know how big to make the flower petals
and stuff like that. I'm then going to
go ahead and I'm going to convert this to an edit poly and just delete one
half of it over here. Then I'm going to
select the outer ring, and I'm just going to
go ahead and go to extrude settings
and just carefully, like, extrude this
to probably one. Uh, so I just need to move it a little bit
closer so that I can see. I feel like maybe a tiny bit less or a tiny bit
more, sorry, tiny bit more. So extrude. 1.3 maybe? Yeah, let's do 1.3. And
then at that point, I'm just going to go ahead
and I'm going to push this in over here. Now, with these flower petals, what you can see
is that they are bending out a little bit, and that is also something that we can go ahead and create. However, we would need to add
additional edges to that. But I don't really want
to keep those edges beyond this point because
it will not look good. So what I'm going to do
is I'm just going to go ahead and select this area, and for now, I'm
going to detach it. Once I've done that, I can
very easily go in here. And if I press
once a tessellate, it will place an edge, as
you can see in between here. Just get rid of those
additional two edges. But with this, it should
be able to kind of, like, push this out. And then later on when we are
going to Ada turbo smooth, it will give us the flower petals because
we are going to just, like, nicely smooth all of this. So for now, it's fine
to just do this. I'm just going to
pass the video. I'm not going to go in here. And like I guess
what you can also do is actually might be good, although I don't
know if it still works now that I
already did a few, but you could
select all of them, and I even have more types of selections that
I can show you, but you can do a dotted select, but honestly, at this point, I'm already far enough
that it doesn't matter. So if I do this, yeah, this only works when
those pieces over here were back because what you can do is you can
then just do a scaling. Although, maybe it does work. Yeah, you know what?
I can live with this. That does work. Okay, so now we have this. One thing that's a
little bit annoying is that now we have this
edge in between here. The reason why that's
annoying because we want to go ahead and we want
to do an inset. And normally what you
can do is you can inset by the polygons and then
it will look like this. But because we have
these extra edges, we can no longer do that, so we need to do an
individual inset. Just to save some time. Instead of an inset,
let's do a bevel because I can see here
that it goes inside. So let's just go ahead and place a bevel and set the bevel
already to the right settings. So, that's too bad. I need to do inset
before I can do a bevel. That's a shame. The reason it's a shame is because
it will take longer. So I can do, like, shall I do inset and then bevel
or inset Inset move. Now, let's do inset.
And then let's just go ahead and we can
probably do the bevel later on. I'm just having a think
about how to select. Yeah, yeah, Okay let's do that. So for now, we can just
go ahead and inset, and we do need to use the
inset settings over here. I guess what you can do is you can to save a
little bit of time, select every other
shape because this way, the inset does not interact with each other because
that's the problem. If we select all of the
shapes next to each other, the inset doesn't
know how to inset it, and it will just like inset
every shape as one big piece. But if I do this,
and then inset, they will stay individual, and if I then just go in so it's like there are so many
ways to, like, select stuff. It just depends how much
effort you want to put in. And often if you are
in, like, a lazy mood, that's when you find the
best ways to select stuff. Now I'm not particularly
in a lazy mood right now, but for such a small shape, I do want to go
ahead and do this. And like this,
there's another one. Let's say that we
just select by angle. Set the angle to five. And then we swing our selection once. Over here? Oh, that's unfortunate. Can I
shrink once more? No. I don't know why I
decided not to shrink that. That's a little bit of pain. But yeah, you could see
my intentions with it. I don't know I didn't
decide to just shrink that. Also, what you can do
is you can also change your selection mode
over here from dragging to, for
example, assert. That often makes it if
you are quite accurate. Makes it a little bit
faster just to get rid of some of these phases. I know many people probably already know all of this stuff, but just in case
you do not know. And also, once again,
like these tools are in every three
modeling software. So if you are following
along in Blender or Maya, you can definitely also do this. Okay, so we now have this one. Now what I'm going to
do, I'm just going to go ahead and I'm going
to bevel this down. And push it in
something like this. And then when we
apply our smoothing, that should look quite nice. So we got these
pieces over here. We do need to attach this again in order to
properly, smooth it. However, what we want to do before we attach
it is we just want to go in and do a
target belt like this. If we do not do this,
what will happen is that it does not
properly attach, and then the
smoothing will break. So for this one, I don't think I know a fast
way of doing it. So let me just pass the
video until this is done. Here we go. And now it's just a matter of reattaching it by
pressing a etch, selecting everything
and just setting the weld to quite a low value, something like this,
and then it will automatically merge
those altogether. Just out of experience, I want to place one edge here
because we need to place some supporting loops to
basically not break the shapes. Because what you will
see is now if we add a turbos modifier, which is the old school
way of adding of creating something into hypol what you can see is over
here if I have a look, I might need to add a fetosmot, but this is basically the
shape that we will get. So it's up to us to then go in here and if
we add swift loops, which are the supporting
loops to this. So if I show latest, you can see here that that will drastically or drastically, it will often quite heavily change the way
that our shape looks. So if I go ahead and do this, now, I quite like
the transitions. Like that's fine that
we have right now, and I think that this
actually reads really well. You'll see, even
from a distance. So of course, here, like the flower petals are a
little bit more individual. But I think for our version, this is just like a
simpler way of doing it. I guess we can try to see
what it looks like if I place one swiftly prov here because that one is being
pulled down quite heavily. Yeah, there we go.
That seems to work. Now, next thing that I'm going
to do is I'm going to go ahead and set my iterations probably like to one and then see if I can compensate it
with some weight normals. No, that does not
look nice enough. Then I'm going to set
my iterations to two, and it will just be
quite a high poly mesh, as you can see over here. But that's totally fine. As I said before, we
are using nanite. If you did not want
to use nanite, you would basically create one
version that is like this, like iteration one, and you
would go in and you would remove any edges like the setter edge and everything
that you do not need. And then you would basically bake it down from
high to low poly. So that's the only
difference that we can save some time using nanite by doing this,
iterations to two. And then I'm going to set my
smoothing to one over here. Do I need some weighted
normals on top of that? Doesn't really do much
with weight normals, although this one I don't
really like too much. So let's go ahead and
add and add a ply. I don't think I can actually
really get rid of that. In that case, you won't see it. When we actually
apply our metal, you will not see
that. So that's fine. Now, before I start going around crazy and copying
all of this kind of stuff, what I first want to do is I want to do some UvN wrapping. Now, so far we have done our UVN wrapping inside of RsmUV. You can definitely do
that. However, this is often quite an
easy shaped UVNwp. So I'm going to use text tools, which is a additional plug in that you can install
inside of threes Max. And once again, have a look online on the
Fast Track tutorials, YouTube channel if
you want to have more of an in depth
look into this. But you can just go to Google and type in TriSMX text tools. It is the most common
UVN wrapping plug in for TresMX and it's also there for blender and for Maya. So that's what I'm using
or you can just use your traditional UVN wrapping.
It doesn't really matter. Basically what I'm
going to do is I'm just going to
go ahead and press Edit UV so that I can
start editing my UVs. As you can see over here,
we have a lot of edges, which I do not want. So I'm just going to
go ahead and select everything and press iron. And what this will do is it
will just cluster everything down into one big chunk. You can see how much trouble the default UV on mapping already has compared
to, for example, when we use Rhythm,
I also need to go in I need to go to edge pass and just select
one of these edges. And basically, what I
want to do now is I want to go up here and
I want to press break. And this will basically
add a seam over here. Now at this point, I do need to choose like I need to
have some kind of cut. If I go ahead and just place
my cut along this shape, so I will cut it here, and that will be like my only
seam that should be fine. If I go ahead and cut this. Now with these pieces,
what I like to do is, I like to just do
a quick peel here. And now you can see
that it has peeled. Sometimes it breaks,
then you can just select them one individually and
try another quick peel. If that still does not work, what you can try
to do is you can try to collapse everything
to the added pool. At this point, yes, we did lose our low poly, but that is fine. Then just reset selected
in your X forms. Cover at the pool again, and then go ahead and
we can go in here. And try once more. So what you can also do is
you can also try to, like, straighten the
selection first, but it looks like that it
does not like to do that. It doesn't often work. But
try another quick pal. Huh. Okay, fair enough. Then let's try a simple relax. No, iron it again. Okay, so if I iron it
again and now quick peel, Okay, there's just some
kind of problem in here. That's a little bit annoying
that we have that problem. Let's see. So these
sides are fine. So then what I'm going to do
is I'm just going to place an additional seam here because clearly there
are some kind of, like, unwrapping problem, which I do not know
why it would be there, but I'm also not really
going to bother. So let's just do this. Quick peel. Quick peel. Quick peel and quick peel. And that's totally
fine. Like for something this small,
this is all I need. I'm just going to go
ahead and go over here to rescale elements to properly scale everything based
upon their size. And then I'm just going to
turn on rescale and rotate, set my padding to
zero point Co 01, and just quickly pack
it together like this. And that's already fine. What
I might end up doing is I might end up basically packing all of my metal
details together. And then texturing those is like a separate texture just to make things a little
bit easier for me. Now, one thing you
also need to keep in mind is that when we are now going to copy this over and over
and over again, it would be using
the same texture. Of course, it depends on how
we pack everything together, but that's something that
we need to keep in mind. Like, how are we going to
divide up these textures? What I'm going to do is
instead of already copying it, I'm basically going to
create my metal pieces, and I want to for this part, I want to go ahead and I want to create three versions over here. By creating three versions, which will have different
UV, all three of them, I basically just create
a bunch of variations of our metal while not wasting too much UV space because even though we have
that special shader, we still want to save
a bit of UV space. So that's my idea right now. Having these, the next
one that I'm going to do is so we have the
round ones over here. How much 17,000 apiece. That is quite heavy. You
can always, if you want. If you feel that tree is
max, itself slows down. You can try to use
a pro optimizer, modifier over here, and then
just turn on keep textures. Sorry. Yes, keep textures over here. And then
just calculate. And now what you can do is it's not as good at as
decimation master, but you can set this to 50, and you can see with
very little changes. It does manage to optimize, but it does also
triangulate everything. So that's just something I wanted to show you in case
you have problems with it. I'm now going to
go ahead and just create the end over here. And let's see. So we are just going
to make an end cap, move it all the way around, merge down into the center, and then just past, like, a
bunch of bolts on top of it. For that end cap, it's probably easiest if we grab this one. What I'm going to
do is because else it will be really annoying, I'm going to duplicate. And this one, as you can see, we like I'll add some
small variation to it. So what I will do is, oh, throw this back to normal is
I'm going to sect the top, hold shift to go
to my edge select, press control backspace
to temporarily get rid of the bevel, flatten this down. And then select it again
and then re art our bevel. And it is basically to
make sure that we have an exactly flat as over here. Once you can even re arch
your weight to normals. But the goal is that I just have a perfectly flat face that is
still the same dimensions, and now I can start by
just creating my shape. Creating my shape
will be very easy because we are just going to go at and we are going to
use splines for that. What would be probably easiest
in this specific case? Is that I go and just throw this image
inside a Photoshop. Here we go. So just to
make my life easier. I'm just going to go
ahead and simply, Oh, God, too big. Way too big. Throw
this image in here. And sorry, it does that. Whenever you hit, like, the
edge, it's really annoying. As I was saying, throw
the image in here. So that then what we can
do is we can simply trace around roughly with our spine and we can
take it from there. So we're going to
have this. And yes, we can also actually have
the little heart in there. It actually that will, funny enough be like the
most difficult one, like, cut it out and
clean up our geometry. But let's do a quick saves copy. And I'm going to go
ahead and I'm just going to temporarily save it into the reference
folder as a JPEG. And, um, it's got to call it 01. I will remove it once this is done because this one
is not really needed. But then if we go in here, we can get started by
going to our front view, and I actually need to do this, of course, in a place
where I can see it. And then just go ahead
and create a plane. Like this. Remove all the
segments of the plane. Make it an even
width and height. It doesn't really
matter that the plane is really massive. That's something
that we're going to change later on anyway. I can make it a little
bit smaller over here. And then set this
to default shading. Quickly, go ahead and add
a material to our plane, and you guess it just loading
texturing that material. Do we have done this before? I have a feeling that I've
shown you this before. But I mean, at this
point, I've made so many tutorials I
don't even know anymore. So just over it. But yeah, I have a feeling like I've
shown you this before. Don't know about
four, but somewhere. Anyway, so we now
got this shape. We can right click
object properties, turn off show frozen in gray and freeze it and press okay. And now it's just a matter of going in here and
grabbing a line, and I'm going to
go ahead and just grab a line. And here, see. It's a lot easier now
to trace around this. And you guys I'm only really
caring about the endpoints, because the rest, I'm
going to edit later on. Here, you can see, so I'm just basically this one can go a bit more. Come on. Close topline. Okay. So we
have these two over here. I'm just going to
go ahead and Oh, they are pretty much straight. Yeah, let's just go to the top and let's start working on this. So this one can go
pretty much over here. Right, click, pass corner. Right, click, pass a
corner and just start like Moving dist place, Hight click, Bessie Corner. You guessed it Bessie Corner. This one can be
scaled in a bit. She? That just makes it a little bit easier for us to trace
down these shapes. Whenever I have ornate shapes, I do always try to, like, trace it down like this
because it's always or almost always better than
when I do it by hand. This one can go
straight over here, and then we will just like,
add a little bevel later on. There we go. Easy, does it. Now I'm just going to
go ahead and already trace down my little heart. That's a shame that it's like, it started off so nice
and then it turned into, like, the ugliest heart ever. So let's just go
ahead and do this. This one, I'm just
going to go By corner and I want to place here, and then this can
go somewhere here. Huh. That's interesting
that it's not properly stops it corner here. I have, of course,
more techniques where we can litty just like symmetry the heart.
Yeah, you know what? Let's do that because it's not really working the way
that I want it to work. So let's just go
ahead and do this, and let's just do a quick
connect. Over here. If I just go in here, I
can just go ahead and extrude this a little bit because this is
going to be a boolean, so that's why I
can just do this. I'm going to
probably in my line, set the interpolation a little
bit lower just to make it easier for me later on
to optimize this piece. I'm then going to go ahead
and going to art and add a pool and just give it like
a tiny extrusion over here, for which I can also go
in and move it a bit. And then it's just going
to be a simple symmetry on the y axis There we go. Okay, so that's
the shape that we can use to cut things out. Now we have the
next one, which is going to be this one over here. And we can go ahead and
we can extrude this. So this shape, yes, this is a pretty good
thickness that I have here. Once again, I'm just going
to go ahead and go into my interpolation and maybe,
like, lower it down a bit. And basically, once
we have the shape, we can start reusing
it everywhere. I have the shape. I now need to go in. And I need to extrude these ends so that we can later on web them
around the corner. So let's just go ahead and
go to extrude settings, local normal, and just give them a little extrusion just to
wrap around corners later. And then the last thing
that we need is we also need to go ahead and
just, like, grab the heart. And then do a simple boolean. Pro BoianRmove only
visible and pick. Okay. So that's the base shape that we have over
here that we can use. Now what I want to do is
I'm going to go ahead and stop by just
deleting this backside. Do I need the backside? Let's see, it wraps
all the way around it. So logically speaking, I do
not even need the backside, but it's something that
we can work on later. Basically, we need to go ahead and play some connections here. Now there are thanks
to this heart, there are now a lot
of connections, and it seems like that also some of my virtues are broken. I'm going to go and get
started by going to selection, press two, and just remove
any of the broken edges. Then I select everything,
and I'm going to weld this at quite
a low level over here. Let's try to do our
first connection, which is quite important. And just to show you
a really quick way to fix this when we do not
really need to worry too much about clean geometry is I'm placing a few
connections that I know that I really want to keep
like this and like this. And this is just because
we are going to automate this process for a
big part. Here we go. And then at that point, it's
just a matter of selecting this and hoping for the best that it works if we
go to Edge Select, then sorry border select, select Etges and
the select these two and just bridge them. This technique of
bridging multiple etches, three Max is really
good with it. I cannot promise that your other softwares
are good with this. Anyway, so over here, this one would be too much bent around the corner for
it to probably bridge, so I'm just going to basically
place a few buffer lines, like you can see over here that we can use later
on bridge things like this. And
then for this one, we can go ahead and we
can select it again. And this time, I'm going
to deselect only actually, you know what, for this one,
a bit easier or easier. I'm going to deselect
these two lines, hold shift to extrude, collapse it altogether,
and then target, well, this point to the end. This one we can just,
like, do this bridge, and it will just kind of
push it all to one end. Same over here,
delete border bridge. So that's a little bit of like
when I want to work really quick and a little
bit more messy. Then I can use these
techniques here. Here I thought I saw a problem, but it looks like
it resolved itself. Here you can see because it goes into one point, we
cannot bridge this. So in these cases, you once again just like
extrude this, collapse it. And then you simply
merge this down into that one point over here. For this one, what I will do
is it's probably cleaner. Let's first of all,
get rid of this. Or, you know what? No,
let's not get rid of it. Let's actually utilize it. I'm going to create a
cut down the center that's most likely the
cleanest way for this one, because then we can
just do the classic thick ridge select border, remove bridge, select. This one might be a little bit more tricky, but let's see. Border. They did a really
good job, actually. So most of the time
this works. Not always. Sometimes you need to
place a bit more of those buffer connections
that I spoke about. But in time, you will
just get used like knowing which buffer
connection to use. This one I'm
probably going to go ahead and do the
collapse technique. And just make sure
that it is not like in a strange
location. And there we go. So now everything is pretty much selected and ready to go. Of course, we are
going to Add Bevels, but that comes a
little bit later. The first thing
that we are going to do is we are basically going to symmetry
all of this stuff. So at this point, I'm
pretty much done in this area. I'm going
to go in here. These ones, we are later on able to most likely
manipulate it also over here. So what I want to
do is I want to make one square and one that's more rectangle so that I
can use it on actually, I don't really have space
over here to use it. But maybe I want to end up using it here at the bottom
or something like that. But let's get started by
just mapping it on this one. I'm going to move
this one on the side. And I'm basically
going to, like, place it into position so that I can properly map everything, maybe make it, like, a little
bit thinner over here. And then my idea was to
basically on circle, let me make it a little bit
thicker like ticker metal, I mean, My idea was to just place it over here
just above all of my edges. And then this is a tool that's
really powerful Stris Max. So, unfortunately, you
will not be able to replicate this in every
tree moding software, but you can use
your symmetry tool. And what we can do
is we can rotate it. Oh, if you see this
will weird stretching, it means that we just
need to go ahead and reset our transforms. And then we can try
symmetry again. And so I'm going to do
symmetry on the x axis. And then what I do is if I have snap rotation on and I snap rotate it exactly 45 degrees, and then push it back, you
can see that over here, this is why we created
that little buffer. We just push it until just in between the
buffer like this, and that will basically
fix that stuff. Now, seeing this, I might want to make
my buffer a little bit bigger because else we will have troubles later on
creating our bevels. Else we'll have troubles. Wow, my English is bad today. Else, we will run into trouble. But for now, let's
just do this and
57. 57 Creating Our Metal Details Part2: Okay, so I now got over here
these metal details done. Now what I'm going to do
is I am actually going to quickly switch this to, like, a clean color over here. We need to still create
some of these bolts. What I will do is I will
create like three of them, probably two or three again. Same techniques that we did
with these ones over here. So then we will have these. We will have the bolts. Oh, yeah, we also need to
create hinges for our door, although it's really
difficult to see that one, so I'm going to go ahead and gather some better
reference for that. So some hinges on the door. I mean, you can add
additional details, but I will probably leave
it at that just because my main shots are pretty far
away, so that should be it. Okay, cool. For this stuff, it is pretty much just going to be very similar to what
we've done before. We just go ahead and
go to our front view. Set this to be a
wire frame override. Let's get started with a
simple sphere over here. And 1 second, I'm just
navigating to my reference. Okay, so yeah, it's
really clean shapes. So it's literally just
like extrude, done. So we have asphe. Gonna go ahead and just
move it over here, make it roughly like
the correct size, which is probably
going to be like this. Here. And next, I feel like that 32 might
be a little bit too much, so let's just go
ahead for like 24. For this piece, what might
look nicer is actually that we rotate it this time this way because we don't need
really strong details, and this will just make the front look a little bit nicer. That was the difference
between those, where we got, like on the front, we got, like some slight
edges that we can see. And that was needed because of us needing to add all of
those additional details. But for this one,
we can go ahead. No, we can go ahead and we can make it a bit
easier. So we have this. We can go ahead and just
hold Shift and extrude this out and just push this in. Only thing is that
creating spot loops here is a little
bit more annoying at this point, but
this should be fine. So if we have this,
we can just go ahead and create spot loop here. Actually, you know
what you know, I don't need spot loops. I'm not going to go for
the hypol technique. That's because I was talking
about that other piece, but I can actually just go ahead and go for the JAMvO technique. So instead, let's go
ahead and just create some Java and just
call it today. Over here, that is, yeah,
that's looking fine. So just wait normals. Done. Okay, cool.
So we got this one. I'm going to go ahead
and just isolate it. I very quickly Uv unwrap it. I wonder if the shape is small enough that I
can literally just, like, unwrap this and unfold it and that it still looks
correct and not stretched. Looks like we are in luck. So sometimes if your shape is, um, not extruded out super fi. You are able to do a
fill on unwrap like this right away. So
we got this one. Once again, let's just
add a normal color. And once again, we are
going to just go ahead and go for three of
them. One, two, three. Here we go. So that's those. So we got all those
metal details. At this point, I will
actually also just like place these nicely here. And maybe make these also
a little bit smaller, but that's fine. Okay, cool. So we got those metal details. I'm going to actually go ahead, throw these into a new layer. Metal Details. Because later on, what we're going
to do once we have our metal hinges,
we are, of course, going to pack all of this
together into one UV so that we can just focus on UV
unwrapping the metal. And as an extra bonus, it will also make it
easier when we actually apply a shader because we
can just make it white. So let's go ahead and
continue on to hinges. And I will need a little bit
more reference for that. So we are going to
make our hinges. So probably what I can do is I can have the
hinges on this side, which means that over here, were much just need some metal plating or
something like that. So let me just quickly have
a look at some reference, and then we can
take it from there. Okay, so I had a look, and most of the hinges
that you often see, and it actually
makes total sense, um, if we just go
ahead and over here, for example, they are
always on the inside. Of course, this makes
sense because of security, if the hinges would
not be on the inside, people can literally just remove the hinges and then they
can take the door off. So it makes sense
that of course piece, this is also definitely
the outside of it, that our hinges would
be on the other side. Now, because I want to
add some visual interest, I was looking around in my
reference about what can I do? I noticed that I
recognize the shape, as you can see over
here, it is very similar to the shape that
we have already created. I'm going to be a
little bit sneaky and I'm basically just going to go ahead and grab one
of these shapes over here. And probably the one without a heart because it's
like a small one. So I'm going to
basically make sure that I can have only one side, which I can just, like,
splatter on my door like that. So for this, if we just go
ahead and go to Face Select, Yeah, I'm going to, of
course, extrude that. I'm just basically making sure. Or can I just probably
get rid of this one? I probably need to do a little bit of UV
unwrapping anyway. Just quickly select this stuff manually. Yeah, let's do that. So let's just go ahead and wrap it all the
way around here. And then we are going to
re extrude this in a bit. Okay, let's delete. Oh, actually, know what? We want to select these.
There we go. Let's delete. So now you just have a very
flat thing and then if we just go ahead and
extrude this out over here, you can actually see that
it's like a tiny bit bend, which is interesting,
but that should be fine. I'm extruding this
out and do I want because we are going to
have these hinges like there is going to
be some space in between our doors
and stuff like that. Although now that I look at it, the space is actually probably
a little bit too much. I might want to actually
go in and just make the space a little bit less. Let's have a look. I'm going to make the space
something like. Ideally, I want
something like this. I can also go in here
and move this one, and then I know
that I need to go in and if I just go to my
added pol I can grab this one. And just push it
out until center remember that other
door, it is inverted. So we don't actually
need to do that door, like we just later on art that. So now we have some space here. Now, of course, it
does mean that over here we have a little bit of trouble where I'm just
going to go ahead and yeah, I should be able to
just go in here. If I go to my side view, maybe what I can do is I can literally just
move these bevels. If I just move this
bevel here and move this bevel up here and then
this one here, there we go. And if I then go
ahead and just very quickly add an additional bevel, slightly higher. There we go. And I needed to go in, and these areas need to
be a smoothening of one. And then when I do my
weight at normals because I need smoothing groups,
that fixes that. There we go. Easy, does it? So I'm gonna like the letter door so
that I don't have to alter it or
anything like that. And now, what I was saying is, we still have some
little gaps here. So this one might be good to center your pivot
and symmetry it after all. So I'm just going
to go ahead and I'm going to symmetry it on the Y axis and then
flip it around over here. You can at this point just
also just on top one. Actually, I need to
select it like this. When I turn on my symmetry, I can kind of see that I need to push this out a little bit,
and that should be fine. So we got that one. We got
our symmetry ready to go. That's all fine. Convert this to an aipoli and let's just go
ahead and UVunwp select, grow my selection halfway, unwrap and I don't think
that peel will work, here. So let's just relax
it a couple times. Contra I to invert selection and also unwrap and
relax it a couple of times. There we go. That should work. This one should later
on when we place it, I will already place it
in the right orientation. But I want to make sure
that it actually does fit somewhat Yeah, you know what? This, along with some of
those additional bolts, I think that will look
totally fine. Okay, cool. So we pretty much have
all of our metal now done because this one
is now also done, and it has bevels, so I just want to add some
weight normals to it. But for the rest, pretty much all of our metal pieces
are done for now. We might need to add more metal pieces when we
have our roof over here. So that's basically what we're
going to do now is we are going to UV unwrap
our metal already. Um, and should I also UV unwrap my door or should I leave the
UV unwrap until later? I'm just having a t
because I might want to, like, reuse some stuff. Yes, I'm gonna UV
unwrap everything now. So the UV unwrapping
of this kind of stuff, it's really will easy to do, since these are all,
like, w plain shapes. So I'm going to get
started by just like UV unwrapping the
metal, and then the metal, I will also unfreeze all I'm going to also organize my scene so that
we can properly use it. So here we have
our metal pieces. That's totally fine.
Then over here, what I'm going to
do is I'm going to just select the pieces that I am going to texture. So all of the pieces that are just like inverted that
we are not going to use, I want to, like,
not select those. So when I look at the door, this is pretty much like the
actual door that I will be texturing. Yeah, you know what? These wooden pieces,
I can just, like, leave them like
this because there are so much occlusion stuff going on here that I probably
want to keep them unique. So we have this stuff.
I'm going to go ahead. I'm going to create this in
a new folder and call this. Door underscore base. Like that. Now, next thing
that I'm going to do is we are going to basically completely
finalize this door, but we are going to add those finalizations
to another layer. It's just for previewing
purposes. So I can go in here. I can select this one, this one, this one, and this one. And these pieces over
here are already done. So this one is also done.
Let's also do these two. This is just because later on what we're going
to do is we are going to fit this with
our roof and for that, it's just better to have
the bigger picture. I duplicate it. I create this to a new layer
that I will call base door. Duplications. And these ones we are going to reduplicate
again when we actually do our UVnwappings just for now because it takes very
little effort to actually duplicate it to just already place in the
position so that I can have a proper look
at things over here. I'm also going to
go ahead and do my dog because
inside of trees Mac, you can literally just
copy over your UVs. So that's why it doesn't
really matter too much. I just want to make sure that everything looks
correct before I do my UVNwrapping because
changing meshes after UV unwrapping often results
in stuff breaking. And we are not in
the mood for that. So I'm just going
to move this one forward until it is not
touching that concrete bit. Okay. So our doors are working. Our pillars are working. Everything is working quite well and our metal pieces also. We have this
one over here. This one will most likely
just be like a center pivot, and then you would just do
like a mirror over here. And we in place this. So let's turn off our Edge and faces
and actually have a look. Yeah, I do feel like over here
that is quite a bit high. Oh, wait, but here
it is not high, does that mean that
I made a mistake? No. Oh, wait. It's because this one is
supposed to also be mirrored. So if we just go at
the center up pivot, this one is supposed to also
have a mirror like this. There we go. See?
Now it is logical. So I'm just having a look. Yeah, okay. So here we will
just do, like, some wood. At this, the first thing that
I notice is that this one, I feel like that this piece
it has, like, no variation. So I'm just gonna go to
select these edges over here and add a couple connects. Yeah, something like six. And then I'm basically gonna
go in and I'm going to, like, Art varies
changes and do like. That's why we're double
checking everything right now just to make sure that
I don't forget anything. Because if you haven't
noticed, I'm quite forgetful. Anyway, let's do weight normals, snap the liges
face. That's fine. Okay. Is that enough? Oops, maybe over here, I'm going to add a little bit more. Yeah,
we have this one. If you want, you
can just, like, add some very small changes, but this one it will be
quite difficult to see, so I'm not really going to
spend too much time on it. Okay, cool. So we now
basically got everything. You wouldn't think that
such simple shapes still takes so long to create, but it's just like the little small details
and stuff like that. Okay. So now let's go ahead and continue
on to the UVR mapping, which I will just
nicely split up into a new chapter just for
organization purposes. M
58. 58 Uv Unwrapping Our Base Door: Okay. So now that we
have sorted everything, what we're going to
do is, first of all, these two pieces over here,
I'm going to throw in my base door duplications so that we can easily
turn it on and off. Oh, sorry, also this piece. Here we go. Okay, so
let's have a look. Yeah, that's now
all ready to go. I'm going to get
started by just UV unwrapping my pieces over here, but these are going
to be very easy because we already
UV unwrap them. So all that we will need to do is we just need to
pack them together. And what I do like
to do is I like to try and keep a
little bit of space left in case I need to create some additional metal
pieces later on. So for now, let's
just go ahead and pack them just by
selecting everything. Go over here to
rescale elements. If you feel like
something feels wong, you might want to
reset your X forms. Now, this one seems to be fine, and I like to always pack
it using these settings. Turn on rescale and rotate, set the padding to 0.001, and then do a first repack
and just see how it works. And then sometimes you
might want to go in. You might want to, like,
select some pieces and just, like, well, let's turn off my
snapping and just like kind of rotate them. You can see that
everything is working quite slow now because some of these pieces are really hypole just sometimes rotating some of these pieces
because the system is not always as good in that. And then just doing another
one, and this time, you can go ahead and just you should be able to just
pack it together, and it will not try to rotate again over here even though
you have rotate or on. If it still tries to rotate, you can always just turn it off. So we have this like it is fine. I do not like we have
some space here. So for smaller pieces,
we have space. If we happen to have need to make a more intense metal piece, then what we can do is
we can go ahead and just re unwrap this again. But for now, we can
just convert this to aapl and we can consider these
ones to be UV unwrapped. Now for these pieces, because with these
pieces, most of it, like we are editing it, we probably need to do
automatic Up or re UVNwp. Now, for these
really simple beams over here, this is really easy. I will show you a bit,
and then I'm going to timelapst because who wants to see an hour of UvN wrapping? What I always like
to do is I like to select everything
and then iron it. And you can do this in
Rhythm UV if you want. The reason I'm not doing
it in Rhythm UV is just because the shapes
are really simple. Like, I don't really
need to do much. So I like to iron it, and you
have two ways to UV unwrap. Way number one is where you basically just turn off
over here these settings, which we'll ignore back
facing and slack Bangle. And you basically, select the faces you want to
unwrap and just press iron to unwrap it over here. Now for this specific shape, this wouldn't probably
be the best technique. But then what you can do is
you have then this last one. And if you simply then select like an edge and
break it and then peel. Now you can see that now
we have UV unwrap dip. The second technique, and
what I also like to do is, I like to add a checker
box that I can remember that Uvip that I
UV unwrapped it. Sorry I'm speaking too fast. The second technique is just to use the break
technique basically. You select everything,
you iron it, you double click here,
double click here. And then for this
one, you cannot double click because
it would loop around. You do this, and
you just break it. Then basically what
you do is you go ahead and do a quick peel and it will automatically
peel everything for you. So that is the second technique. And then you can go ahead
and just add a checker box. So those are the two techniques
that we will be using. Most of this is really simple, even if you have edge like this, so let me just show you
this one because it looks a bit more
complicated. Iron it. And what I would do for
this one, for example, is I would go to my front view, select one site over here, and it's just going
to be one iron. So in this case, it's easier for me to iron
it because I can just simply select it and
also iron it here. Like this. I am curious why there is
an edge in between here, so I must have accidentally not selected that, so let
me try that again. Iron. Okay. Perfect. And now all that we have left is we have these center bits over here. And what I can do with
that is I can iron it, and then I can go in and
just like, double click, but just make sure that you
do not overstep the UVs, and then I will do
one UV here and one UV or one split here by just breaking it. And
that should be enough. I I now go in and I will go ahead and
just do a quick peel, now we have split it up into three nice pieces because we don't want to go
for super long pieces. If we go for super long pieces, it will not properly fit inside
of our one by one square, and it will mess up our
textual resolution. So that's this one. A very easy. Now, let's just
go ahead and kick in the time laps where
I will basically be doing this for all
of these pieces. Oh. Oh
59. 59 Finalizing Our Base Door: Okay, so we have pretty much finished our
UV unwrapping here. So a few things I wanted
to mention that you might not have noticed
during the time laps. One of them is that
I made sure that my UVs are all as
straight as possible. L over here, you can see a little bit of rotating,
which I will still fix. But just in general, almost
everything is quite straight. This is because even though
inside of substance painter, it doesn't matter
if it's straight. When we actually start applying our shader to it inside
of a real engine, the shader, of course,
because it is like a wood normal in the shader, it will have some direction. Now, next to that, I did
consider maybe having all of the directions of the wood in one direction to basically
keep everything consistent, basically pointing everything
up or everything sideways. However, that would have
cost a lot of UV space. So what I did instead
is I just made the rotations whatever
they wanted to be to have the most
optimal UV space. And then later on we're
just going to add an additional wood texture in our a real texture array
that is basically the wood, but then just like sideways. So that should fixed upon. So there was one
last thing that I did see over here
that was this one. Let's go ahead and rotate
it a bit. There we go. So for the rest, like just try to keep it fairly straight. A little bit of
movement is okay, but just like try to
keep it straight. Anyway, that is now all done. I'm now going to go
ahead and just apply a basic material to these
things. So we are ready to go. Now, the last thing that I
want to do is that we have over here our base door
duplications, as you can see, and for those, actually, you know what I just
realized that I actually need to reapply my checkerboard because I want to basically
copy those over. So I can just go in
here and you can just add a UVW map, right, click Copy, then go in here, and this one we
can, for example, covert and then
just press paste. And if your mole is
exactly the same, that should stay intact. We can go ahead and also over
here, so we have this one. The only one that I
think because when we mirror stuff or we do
this kind of stuff, it will break a little bit. So what I'm going to do
instead is I'm going to go ahead and reapply this. Now, this one over here, just going to go ahead
and say, Oh, rotate that. Because later on I want to use this as a previewing scene. I want to as a preview, I want to have my entire model, and that's why I want
to already go in. Let's just convert and the lt. That's why I want to already go in and just replace all of this This one here, I think this one, we want
to go ahead and just like center to object, rotate it 180. Oh, wait, sorry, this is well, I mean, we
can still do it, but it's not technically the
one that I was looking for. I was looking for this
one here. There we go. And this one, I wanted to go ahead and like center to object. Okay, so we got that one. Like for these pieces,
at this point, what I can probably
do is I can just go ahead and get rid of
all of this stuff. Over here. Let's see. So I used that one, so I just need to grab
all of these here. And I should be able to just
simply copy these over. And place them properly
into position. I can also unhide, just to unhide that piece. Okay,
so we have a beam. I wonder. So whenever
you mirror something, often the copying
doesn't work anymore, so we can go ahead and try. Right click paste. Oh, okay. Fair enough. It seems
to work totally fine. Doesn't always work that way, but it looks like
that this time. Or maybe I'm just
too old school, and I still know the software
from when it never works. So that's why I always
expect it not to work. This one over here, we can
just go ahead and copy. And then I just keep
collapsing this and then just pasting
it over here. And the same one over
here. We have this one. Alright, click Copy. Paste. Like that. Oh, wait. Almost. I seem to
have forgotten. One more. Paste. Copy. Paste and copy. And the last one. There we go. Okay, so
that's now already set up, so we can just use
it however we want. Nice. Yes. Okay, so we
got those pieces done. We can go ahead
and save a scene. And now I'm just going
to go ahead and apply a play material
because it's really difficult to see the shapes. So our base is now done. It is textured or sorry, it is unwrapped and it is ready for our texturing process. However, what we're
first going to do is we are first going to also finish our rooftop piece. Just so that we are sure that everything just is
fitting together. So for rooftop these, what I want to do, sorry, I cannot speak Rooftop piece, bit difficult with my accent. What we're basically
going to do is we are going to make like a
standlof roof piece, yes, but we want to make sure that
those tiles that we create, that we can also use those on our other
areas like over here. So we are actually going
to make jom try tiles, but we are going to
make them somewhat modular because you can
see how modular this is. Like, we only have
to really create one or two different rows
over here, maybe three. And then, just like
duplicates over. Also on the inside, we
pretty much only need to create one or two
different rows just to, like, slightly change that. And then we have some top
pieces and then the ends. We can simply use the tiles
from these ends over here. So in general, we
are going to do some planning for that,
but before we do that, we are going to
start with the base, which is everything except
for the roof tiles. So if we go ahead
and just go open up our unreal seam let's
go outside of my lock. Um so we merge the
entire door together. This one, however, it's
pretty much one piece, right? Like, yeah, the rest is
just like that tiny bit. And we have this piece
here at the front, but I don't really
worry about that. So I can just select this piece. Right click Export. And this is going to be
oof underscore zero, one. From unreal. So let's go
ahead and export that. And now we can go
ahead and we can go in here, File Import. Exports, um, from Mel Roof one and
go ahead and import it. And then this one later on, we are going to
basically, fit it in here so that it
will work nicely. The only thing that
I want to do is I want to quickly
look at my scene. So that if I look at it from pretty much front view
or from the side view, I can kind of see that the
end of the roof is kind of hitting the bottom
of our pillar, and that's something that I also want to go ahead
and do in here. The end of the roof
is kind of hitting the bottom of this pillar. Because we changed our
design a little bit, I might just move it like
something like this. And then, of course, later
on we are going to improve our design so that it's not clipping and all
that kind of stuff. But just in general,
have a look, make sure that it looks correct. Which it does. So
that's looking good. Okay, awesome. Now I'm going to split off the chapter
here because it just feels better if we
have a solid split where we are going to now start working on all of
the rooftop pieces. So let's go ahead and continue with this
in our next chapter.
60. 60 Creating Our Roof Part1: We will now get start by working on our top roof
pieces over here, and this will basically
come in two parts. We will have the bottom part, and then we have
the actual tiles. So for the bottom part,
that one is quite simple. It's basically a
scaled up version of what you can see over here, which is simple planks
that are slightly bend, which is creating the top. Now, if we go ahead and, for example, go for like side, also, I want to also just
create some kind of nice shape in the
center over here. But in general, here, this is a good shape,
like this kind of stuff. But yeah, in general, if we go over here to
the rooftop pieces, you can clearly see over here, this is pretty much the structure that
we're going to go for. This is going to be quite easy. As you can see over here, there
are actually planks here. So we can decide
between planks or just making it
like a flat piece. I think because it will be
so difficult to even see it, it's easier for us to
just simply go for a flat piece and not
completely go for plank. Then we will create an
out trim on top of that, and then we will go
ahead and we will create the actual um hold
s and then also the structures inside
that will kind of like hold up our ceiling or roof. Once that is done, we will basically go
ahead and we will get started by creating
our actual roof tiles. So we got this piece over here. Now, most of the
time, as you can see, it is kind of like stopping around, let's say, this point. So I just want to
make double sure. So if I go, look at
corners, yeah, definitely. Okay. Cool. That's basically what we're going to
get started with. Just give me 1 second while I bring up my
correct reference. What we can do is
if we just go ahead and go to our side
view of our roof, to get started with
the first plank, we are just going to
use a simple line. And if I have a look, basically, the line comes together here, and then it basically
pushes out. Now, something that we also need to think about is
how we are going to handle the corners over here. I want to sort of stick
with the same design. I'm going to give it a
slightly heavier bend. But one thing that is a
little bit of problem is that over here we
have these pieces, and we, of course, need to
make that all fit together. We might want to hire our
roof a little bit more. First things first, select
both of these pieces. Go ahead and create
a new layer and call this Just rooftop is
probably fine for now. Now, next, if I just
have a look at this, I would need to hire this
really high for me to Yeah, it would need to be
really, really high for me to increase that. We might want to make these areas over
here a bit smaller. For now, because our rooftop is once again going to be something that we can just symmetry. Let's for now just go
ahead and use this one. I'm going to go to
my interpolation and it is a little bit higher to 12. Then what I'm going to do is I'm just going to go ahead and use a tata sweet modifier over here. Make it a bar, sure on
our edges and faces, and we can get started by
just making it quite long. And then we also decide on
thickness and thickness, I probably want to make it like 4 centimeters thick or
something like that. That's still quite
a bit thicker. Also, I need to once again, go to my line and just increase the interpolation
because I want to make this nice round,
something like that. So we are basically
just going to go ahead and create the roof as is, while ignoring the other pieces. I'm just going to go ahead
and do a Basier corner and I want to make
this a little bit more just a tiny bit more bend, so I'm just going to turn off snapping, something like that. Then the next thing
is just going to be by moving this, looks like it, we want to have these ones all
the way to the outer edge, and then we can
just do an adipoly and we can move it all the way to this outer
edge over here. There we go. Okay,
so this is a base. Now what we want to
do is basically want to just create a
frame around it, and on top of that frame,
we are going to, like, place these wood
beams over here. So for the frame around it, most likely what will be
easiest is that we just simply duplicate to get started
with our shape over here. With this duplication, I'm going to just get
rid of my sweep, and I'm just going to
go ahead and I'm going to set my position. Over here, in the
pivot alignment, you can set your position. So I'm going to set this
towards the outside. I'm going to kind of
like places here, and then it's just a matter
of setting my Beam size. So let's make this like double. So let's say like
eight over here, and let's make this
like six by eight. Six by eight sounds
like a normal position. I'm going to move
it a little bit far away from the
edges so that I have some space like an
ornament on like the end. Actually, six by four. Might be Yeah, six by four might be a little bit
better, something like this. And I want to just
go ahead and go to line and then just
kind of like move this so that it is
fairly well aligned. I might want to
actually go in and make this a little bit lower
now that I look at it. Also because else the transition will not work really well. So let's make this a little
bit lower over here. And it is something like
we are going to later on, need to cut this off because we are using
a symmetry modifier. So if I have this, let's see. Like, it gives like a sharp cut. If I just go ahead and
create a symmetry, 1 second. Before I do a symmetry,
let's center a pivot. And now let's go ahead
and try to create a symmetry and flip it around. Oh, no, not the Y
axis on the X axis, I believe, and then
flip it around. There we go. So
create your symmetry, which I'm going to have like this so that they still
have some space at the top. And then based on that,
we can, of course, set these shapes over here. So we would want to create a cut going exactly
down the base, and often this just EG
is done if we just do a very quick Boleon
because then we can exactly measure over here. So it's going to be
quite a white cut. On let's set this back to front. It is going to be
quite a white cut, but then it should be done. So if we have this one,
we can go ahead and we can compound pro
Boolean advanced, remove only visible, cut. And then just go
ahead and isolate it, convert to an dipole and just
clean it up by just using your target belt
or using your cut. There we go. Okay.
And of course, we are going to add some
bevels and stuff like that, but this is already giving
me a pretty decent start. So at this point, for this one, I can pretty much just go
ahead and the chamfer already, set the am for segments
to zero and just push it out to around 0.25 would
be like a nice value. Just go to copy this and
probably also place this on my end over here, although I'm going to now
turn off my symmetry. Here, that works. I will add
some imperfections later on. For now, we can go ahead and
we can move this over here. And if I just remember roughly
the distance between that one or something like this, yeah, I can live with that. And then the next one
is going to be if we go from our front view, we can simply place
a line going from this side to this
side over here. Now, did I merge this together? Most likely, I did. Yes. So, unfortunately, I don't have my Sweep modifier
anymore, but that's okay. I just because I
can still remember. So sweep bar we were going to go four by eight or four by six. I feel like it was
four we eight, but we know soon enough just
by going into our side view, moving this here, and
moving this down. Yeah, I think it was 48. So this one is going to be placed pretty much on like
the corner over here. I'm going to make mine
a little bit more simplified because
here they did the work like Wi perfect where
they cut it like an angle and they like
perfectly placed it. We can also do that,
but in this case, it's probably easier if we
just go ahead and quickly place it like this
because it's not as important that it needs
that amount of detail. So we have this
one and this one, next, just go ahead and copy your Genfa and also
paste it in here. There we go to give
it a proper send off. And then the next thing
that I'm going to do is I was going to place another one most logically would be just before
we start the angle. So probably around here, we would want to place
another one. Like that. Okay. There would also be some planks sitting
in between here. Like, it would not
make sense to all of a sudden have empty space here. So what I will do is I will
play some more planks, which can also be used to hold
up these planks over here. So if I say, one, two, let's do every two segments, we will place a new
plank and just, like, nicely rotate it so that the
bottom line aligns flat. One, two hoops. One, two, And, of course, you
don't have to be, like, extremely
precise with this. Oh, wrong button. Most of these planks are really
easy to create the base. And then, of course,
the ornate bit that it will not be difficult. It will just take some
time to create that. And then the rooftop, that
one we do need to have a really good think
about because we need to use those rooftop
tiles everywhere. So we need to create a system where we can basically
create all of our rooftops using just a few models to
basically save some time. But that is something
that we will go over in a bit and we can just do some planning using some handy techniques
that I will show you. Yeah, I will place
like one still here. So those two are just closer together. Something like this. Okay, cool. So we
got that stuff. Now comes the next
one, which would be another wood piece that
is like pointing out. And then we basically
have horizontal bar, and normally that bar would
rest on top of this area. But what we can do is
we can most likely simply move all of this
a little bit down. Along with moving the
roof a little bit up, just do that stuff just
to compensate with it. That's why it's good that we
did not text your stuff yet, just von wrapping
is fine, of course, but you do not really
want to texture it. It's probably easier for me if I just go ahead and
just add and added ply and select that's annoying. Select this line here. Then if I just right click, I can create a shape based
upon my selection and press. What that will do is it will
create basically a line, as you can see over here, spine, based on my selection and
I can use this spine. To move it down here and
this one needs to go. Let's say, I just need to
stick out a little bit more. The only thing
that's a little bit annoying, yeah,
that is annoying. Over here because we convert every single
point is like a spine, which gives me very
little flexibility. Instead, I'm just
going to go ahead and put a line point here. Put another line point here, zoom out just try my best
to basically place it. And then if I go
ahead and just select it and go to Bezier Corner, I can then go in and let's see, I need to follow that point. You're over here also, Bezier Corner.
Something like this. Now if I move this down, now I can go in here and I
can say like, Okay, this one, I want to stick it out just a little bit beyond this point. Just go to scull
this in. Just make this I'll follow along. And then this one
I want to stick in something like over here, which means that we definitely need to compensate a bit by making it a bit smaller, something like this, you
probably do the trick. Sweep. We have a bar. This bar is going to
be slightly different. So first of all, I want to go ahead
and set the position to be like all the
way on the outside. And this one I'm going
to make probably like eight and they are
quite long, actually. So eight by ten, would
that be too big? Seven by ten. Well,
they often wouldn't use uneven numbers when
it comes to planks, but six by ten
doesn't look nice, so I am going to just use
uneven number because I'm more about visuals rather than ease
of installation and stuff. I can then go in here.
And I can just double check that it's not clipping too much with my other models, which it is not. It looks fine. So we got this one,
and these ones we will start just beyond this
point somewhere along here. I'm just going to
go ahead and copy the CEVA from one note and just paste it like that. I can go ahead and if I
just keep that in mind, I can go, well, first of all, save my scene, edit, sorry, tools, array, preview it, and I'm going to place my
array on the Y axis over here. And place it roughly
tilts even spacing. Ten. Now, they are quite
close together. So I would probably
go for like 15, which means that we do need to or maybe like an even amount 14, which does mean that we now
need to, like, push it back. Maybe 12 Yeah, I feel
like 12 is a good one. And if I just have a quick look over here, so it's really close. So if I go in here,
65.5 maybe, 65.8 maybe. Yeah, that's okay. That's okay. Now those are done. And then here at the
top, we kind of like, I assume it will
most likely clip. But what I'm going to do
is I'm going to be sneaky. I'm just going to place
like wooden beam in between so that you
cannot actually see the clipping just to
save again a bit of time. Now what we are going
to do is yeah we need to kind of
like decide where our wooden beam and
everything is going to be. I'm going to get
started by just moving this stuff down.
That's an easy one. So let's say somewhere
along this line. Now for this one,
because, of course, we did UV unmapping, we are going to go ahead
and we can just add and added ply and push this down so that it
is correct over here. With this move down and yeah I probably won't
go lower than this. What I can do is I can
go ahead and just select my DorbseR click
select Child Notes, open up text tools. Here we go. And
then I'm just going to simply alter the
UV a little bit. So it's this one. On purpose, I'm not going to repack my UVs because then
I would need to, like, copy over all
of my UVs again. Instead, I'm just going to find the top one, which is this one. And that's the only thing
that really changed. So what I can do is I
can just relax it a bit. And yeah, that should be
fine now that it is relaxed. And what we can do is
we can go in here. I'm surprised how square
it is, to be honest. What is this one? This one is one of those planks,
so I want to keep those. This one is the
end of that plank. Um, it's a bit annoying. So I was not lying
when I said, like, I don't want to really
change my original UVs, so I'm just kind of like
pushing this down over here. To try and get, like,
an easier time. I am kind of curious
if I relax this. That is a lot straighter, it is a lot neater if I relax it. I don't know why
all of a sudden it decided that it
would come straight. T one is easy because there
isn't much around it, but this one, of course, we changed the shape a
little bit too much, and now it gets to a
point where you're like, it's not touching here, but
now it is touching this one. I just have to replace this one. But I can see over here
that for some reason, I have both of them selected, so I'm just going
to move it out. Maybe because I
instance it, I know. But that you do the trick. We can just go ahead
and convert this again. Here we go. So that
should be fine. And then for this
one, all we need to do is we have this one. I'm going to go ahead and
just duplicate this piece. Here, I'm then going
to send them my pivot, do a quick flip with my mirror, and then I'm going to delete
this old one and this one, I want to just go
ahead and move it to my base door duplications. There we go, just
so that we can fit that. That one is now fine. Now if we go ahead and we want
to grab our rooftorpiece, select all of our chart notes. And move this up. If we just move it
up to have it just above our wood piece, what we can do is
we can then place a wood beam over here to
actually create a spot, and then we can also create
a wood beam structure, maybe inside of here, which would also just add
that additional support. If we have this, let's go
ahead and now create just like a simple box and I will
probably have the box uh, I'm probably going
to have it over here and make it maybe
like two edges wide. Now, I feel like a bit
wider would be nice. Let's do this, and let's
just convert it to an adi poli over here. And I want to also go
in and just already basically move this
one halfway in here and then also
halfway in here. Let's see. Is that
thick enough? Ah. Yeah, you know
what? I like that. Okay, so now, we're just
going to go ahead and move this one and then select this end and just move it down. And then we can also go in, and they will
probably just, like, use in those times, like a chisel or something
to kind of, like, carve it out. But it's just to kind of, like, fit this together. And at this point, we can add a chamfer. Actually,
you know what? Just copy a chamfer. And then paste it
again. There we go. That will take care
of that wooden beam. Now we have our
support ready to go. So when we actually symmetry this, that should all be good. I'm just thinking if I
would probably want to go ahead and symmetry this and just make it all
a unique texture. Having this piece,
I would also have the urge to have something
sitting in the center. There will be one
wood beam over here, but I do feel like that we
probably need something like a wood beam in
the center over here, and then we will have maybe
like a wood beam that is sticking out on this
or something like that. What I'm going to do for now probably is to select all of
my rooftop pieces over here. And yeah, let's just go
ahead and copy this. And I will do,
like, a proper copy later on after we've done, all of our UV maps
and everything. For now, we're just going to go ahead and merge this together. I'm going to center my pivot
and do a simple mirror. And then we just want
to mirror this in, like, where these two are touching each other,
something like this. And that should make
everything fairly correct. No, we want to go tiny bit out. And over here, we are
already tiny bit out. Okay. So yeah, yeah,
that makes sense. To have a mirror like this, I would say that actually
these pieces over here, we are going to get something that will actually hide this. So we are going to have
like an ornate piece. Over here, you can see that these ones are merged together. So my thought was to
have some kind of like a wooden beam that is kind of like sitting
in front of it. So if I just remove
my chamfer here, like a wooden beam
that kind of, like, sits in front of it
to kind of, like, hide these pieces just
because it's, like, something that you
can almost not see, especially not when
we have, like, additional piece in front of it. Something like this. And I'm
going to go to my side view, and I'm just going
to go ahead and and here, make this smaller. Yeah. So I'm going
to push this out just before we reach the
final plank over here. And also, we want to
do that over here. And then for this one, I will probably push
this one to this side, this one to the other side, and then this one I want
to kind of push up. Then over here,
I'm just going to add additional chamfer
in the center. And move that up again,
something like this. Okay? So this guy like
cover up our mistakes. And then what we will do, because normally you know that I always like cut
things up properly. But over here for this one,
we are simply going to, like, use some dirt because it is
in a not so visible place, and I want to not
spend too much time on this since we are way over time. I'm just going to, like, add some dirt to
basically cover up that the wood is going inside
of another piece of wood. But at this point, you can
just go ahead and you can copy your chamfer,
paste it on here. And now we have a
centerpiece of wood, and we have these
two side pieces. At this point, I do feel like
that it would make sense to have an additional piece that's kind of like
holding up this wood. And for that, we can kind
of use these pieces. Now, I don't know if we can just grab a wood beam here
and just have it, be a slightly thinner wood
beam to kind of already cover up some of these areas. So we kind of place this on
top. Something like this. And if we then place an
additional wood beam in here by just probably
duplicating this, going to a side view and
just grabbing one side. Oh, wait, grabbing the center axial and remove the center, and just grabbing one side, and let's make this beam.
Let's make it square. Just the center my pivot again. Move it roughly
where it is standing on top of this large
beam because they would not put a lot of weight
on something that is not that is holding up
that is not supportive. So if you would place
that wood beam here, like this entire
wood beam would be holding up most of this roof, except for, of course, we
have two wood beams here, but you get what I mean. Like, I'm trying to
give it a little bit of logic. Doesn't have
to be perfect. But it has to look
like we did something. And what I will do is
I will go ahead and just place, some
metal pieces here, which would indicate that
this has been attached, and I will move it probably
on the inside over here. Actually, I don't
need to put it on the inside because if I
have my metal pieces, when I push this inside, I don't need to make a hole here because you would never
be able to see it anyway, since we are placing
metal on top of it. So for now, let's move
another one here. The general goals that if we
look at it from the side, it just looks
visually interesting, that we have some
stuff going on here. You can see that right now
we have a lot of stuff just going on inside of here, so I'm quite happy with this. That marks our base over
here, so that is ready to go. I am for now going to still
leave this piece separated. And most likely because we are going to add stuff
on top of this, we will most likely in the end also just simply
duplicate these models, but, of course, we first
want to U V a bit. If I have a look and turn
off my edge and faces, I think that this is a good
point to stop this chapter. You can see that everything feels like a little bit smaller, but that is simply
because we are still going to add a bunch
of stuff on top of it. But yeah, our entire roof might end up a
little bit smaller, but it will be a little
bit more logical. So the next step is
to actually add like this Wi bulky stuff
on top of here. I am going to quickly
check, so yeah, okay, so I am sticking out
quite a bit less in here. Um I'm probably going to compensate with
that by simply scaling the entire
thing up a little bit. That would probably be
the easiest solution. So if I go in here and I'm actually going to select
all of my rooftop pieces, I want to deselect these pieces I am just
going to go ahead and select my duplicate
sent on my pivot. Most likely, what will happen is that the scaling
will not work. Okay, it will. If
this doesn't work, just make sure that
up here, you set this to the plus sign. So I'm going to start by
doing a simple scaling. Let's also have a
look at my blockout. Over here. So that's just
going to be simple scaling. And then what I'm going
to do is, of course, want to kind of fit this
back into position. So I'm going, Oh, God. Oh, no, I redo redo scale. The reason I was confused
is because this beam is, of course, part of the rest. I'm now going to
move this back into place somewhere along here. And then this one
I will, of course, just like balance out
a little bit more. Having this one done,
I'm going to go ahead and add a FFD modifier, just like the two by two by two. And carefully, push this back
a little bit. Not too much. We don't want to alter the
scaling and stuff too much. Let's try and have a look
at that. That feels better. Yes, that feels better.
So we got that one done now just go ahead and
select everything. At this point, we can
just convert to Adiply. We want to go ahead
and for this one, we are going to get rid of this beam because
I've got this one, which I will place a
little bit closer. I just want to basically center my pivot and quickly mirror this one and just
place it over here. And then for this one,
what we're going to do is Well, move it up. However, it is no
longer in the center, but my roof is in the center. But it's such a small detail, I'm just going to move it
in the center like this. Okay. Yeah, that's looking good. If you want for these pieces, you can go in and just make them a little
bit thicker again. You can select them. And just a quick twig. So if you select all of them, if you make sure that
you center the pivot, and then when you scale, if you go up here, you can scale based
upon the local version. And then what will happen
is that the scaling will be applied to each
beam individually, compared to when you do
view, but when you do view, the scaling will apply to
everything at the same time. So that's looking pretty
good. The scaling is fixed. Let's go ahead and continue
to the next chapter where we will start with
the planning of our tiles, and we will go on how to create all of that
kind of stuff. Yeah, let's go ahead and
continue to the next chapter.
61. 61 Creating Our Roof Part2: Okay. So now that we have our base over here done, and
it's looking pretty good, now what we're going
to do is we're going to work on the star of the show, which is our roof tiles. Now, for roof tiles over here, I decided that this
is going to be like our main image because it pretty much shows
everything that we need. However, we need to
put things a bit more into perspective
because you can see, there's a lot going on. There's a lot of details. So I just want to go ahead
and just go over it. Now, to put this better
into perspective, exactly which pieces
we need to create, what would be easier for us is to just go ahead
and basically, open it up inside the photoshop so that we
can have a closer look. Over here. Now, what I like
to do is if we just zoom in. So I like to go ahead and
just have a think about, what are the pieces
that we need to create. When we look at this roof piece, one thing that I need to keep in mind is I need to get, like, the balance between
the text that we need to create that are,
of course, localized. So we want stuff that has, like, localized dirt and
stuff like that, but also, minimize the amount of space that I'm using
and stuff like that. Now, the first thing
is quite an easy one. You can see over here
that we have the end cap. What I like to do
is if I know that I need to create a piece, I can just go ahead and
create a selection around it and just add a solid
color down at the bottom. Just make it any color you
want and just go ahead and set the opacity lower,
just that we color it in. So creating this end piece, that will be like it has
quite a few details in here, but it's quite an
important piece, but we can reuse it
over and over again. Of course, we will
create a few of them. And owner weight, we
probably will actually apply unique textures to all of them
now that I think about it. The reason we probably
want to do that is, although maybe the front, we might not be doing. But basically, as you can see, there's a lot of
really interesting localized dirt over here, and we just cannot
really get that if we are not making
this a unique texture. But we do need to go ahead and like, somewhat modularize it. So most likely we will create
one of those unique pieces. Then we will also go ahead
and we will create one of these end pieces or middle pieces. Just
go ahead and go here. What we will do is
we will also create a couple of these
different tiles over here. That means to do a gradient. If we create those three pieces, then what we can do is we can basically create a modular set, which goes all the
way from here to, for example, let's say
something like this, this will become a texture. We will just go ahead and
have that modularized. Then if we need any
additional localized stuff, then what we can do is we can go ahead and we can
just use decals. We have this one and that
would be a big modular piece. And the reason we
want to do that is because don't forget, we need to also use these
roof pieces on here. I basically want to go ahead
and grab this roof piece, and I pretty much
just want to also impose it on these
areas over here. So that's something
that we need to keep in mind whenever we are
creating this stuff. So we have this one. Now here we have the end piece, and I feel like for
the end piece, yeah, if we just grab these tiles over here and
just stick them in the end, that should look pretty much similar to what
we need right now. Also, this is really good reference
that I can see over here, how it's like cut out. So I think that we are able to create the end
piece whenever we have this. Now, do I need specific
textures for the end piece? I'm just having a t here. Um, yes, it might
be best if we just go ahead and turn this end piece over here
also into unique texture. Basically what I'm thinking
about is that this end piece, can we hopefully also use
it in maybe the corners. Over here, we have the end over here. So we
might just do that. I know that in our reference. So it depends how
important it is. In our reference, we do have these really nice
corners over here, which actually
looks really cool. So I think I do not actually
want to give that up. I really like
having the corners. Over here, I need
another corner anyway. So knowing that, our
corner pieces, however, are going to become
like we are going to use one of these edges over here to basically
break up the corner. So yeah, okay, for now, and this just takes
a lot of thinking. For now, this piece is
also going to be like a large modular piece.
That's the plan for now. We are now able to with these two pieces along with
the separate small pieces, which I will also texture separately just so
that we can use them. We can basically create
the entire flat roof over here and we are also able to use
these to basically create these slate over here. What I'm going to do is I'm
going to probably turn one modular just so that we have a little bit more space
for our texturing. I'm going to turn
one of these sides also to a modular
piece over here. Like this. I'm just
trying to figure out everything that needs to
be in the texture or not. Now, this top over here, we are going to simplify it a little bit just to save time. Basically, the top and the
pieces that run down here, they are going to
be the exact same. I can just run them
down here and use this as an end and simply
bend them out. If we go ahead and have
a look at the topies, it would be that this over here is an entire toppie that we
are just going to use. We can go ahead and also turn
that into a modular piece. And then we have this
end piece over here, which is that the
end piece I want? Because there are
many different ones. Well, I'm not going to
go this complicated. If you are really
good at sculpting, then go at it. I think I'm just going to go, something in this direction. Yeah, not that complicated. And also, we also need to create the ornate pieces over here, but I want to leave those
until a little bit later. See, let's just go for, like, a fairly similar simple piece. For now, I'm just going to
go ahead and select this. Over here. And
let's just go ahead and turn this into different color. Okay,
so let's have a thing. So now, using these pieces, we are able to create
the cent pieces, the corner pieces,
the top pieces, the side pieces, and
also the ends over here. So that should pretty
much cover all of it. Now, just like the corner
pieces, I want to have a look. So most likely
because we are going to place like these
things on our corners, I can most likely
than that get away with having just like my centerpiece and
basically manipulating it into a corner over here, as you can see, by using
our symmetry technique. This is basically our
planning right now, so let's go ahead and
get started with that. We are going to get
started by just creating these separate
modular pieces. So we can go in here and I
like to go ahead and so we have our rooftop and I want to just go ahead
and create a new layer. Rooftop underscore
tiles is probably best. And then what I'm going to do
is so we are first of all, going to define this one. This shape over here, we pretty much need to
use Z brush for that. That's the easiest way. It's basically creating a bunch of shapes and then using Z brush to merge
it all together. As you can see over here,
it's basically like a semi cylinder that is cut out to make place
for our tiles over here. That's basically what we want
to go at and also create. Now for this, I'm just going to go ahead and go to my top view. The first thing that
I need to define is the general scaling
of these tiles because we are going
to literally move these around or place
these all as geometry. So what I want to do is if I go ahead and have
a look over here, any chance, no, my reference doesn't really
show this kind of stuff. But I can see over
here. If I just guess based upon this
and what we have, I would say, let's do a
radius of 9 centimeters. No, I want to make it
a little bit bigger. 0.5 centimeter 9.5 I said. Actually, now I look at it. Even that feels especially
from a distance, it will feel a little bit small. So maybe we want to go
for 10 centimeters. And that would give us, that
would give us quite a bit. Okay, let's go for like 10 centimeters to
get started with. Now, next is going to be like our height or in this
case, our length. So if we go ahead and
go for 20 centimeters, that would not feel too logical. One, two, three, four, five, six, seven, eight, nine, ten, 11, and I know that they are fitting into each other. But just for the
sake of testing, wow, that feels really big, actually, now I look
at it like this. One, two, three, four, five, we can barely
handle anything. I'm going to go back
to 9 centimeters, and then I'm going to make
my height to maybe 15. And let's have a look then. So if this would be placed like roughly
here and just for fun, I'm just going to place
this one, two, three. Yeah, we need this to be a lot smaller to go even
slightly similar to that. But I just want to make
sure that it looks fine. Once we've defined this, we, of course, know what
to do with everything. That's why I want to take the time to really like
twice the defining. Also, I feel like
that in general, they feel a bit longer. Here we have only
one, two, three, four, five, six,
seven, eight, nine. Ni can see one,
two, three, four, five, six, seven,
eight, nine, ten, 11. If we go ahead and my
final one is going to be a length of a radius of 8 centimeters and a
length of maybe like 12, but 12 feels too short. So I think if we stay with
eight and then go for 14, that will probably read the
best because this roof is, of course, a little bit bigger. So let's do something like this. I now go back to rotate, and I'm just going to
reset my rotations over here and just go ahead
and snap rotate, set those back to like 90 so
that it's like a flat piece. Over here, because
we, of course, want to make sure
that everything is, first of all, created
as a flat piece. Um, I still feels really
short, to be honest. Like, I have a feeling like this feels to me more logical. But then if we slot
it into each other, it would become less so
I might just do that. I might go ahead and set
the length to, let's do 16. I think that will be best if we just do something like 16. We now know this shape. I'm just going to go ahead
and I'm going to create a rough blockout of all of our shapes just
to make things easier. We have this one. The one that's going in here it's literally just
like the same one, but we are going to take away whatever is here in the center because
you cannot see it. So for that, I would go ahead
and I would first of all, go in here. 18 is 18. I feel like we can
probably go to like 24 to make it a little
bit higher quality. And then let's just
start and added poly. And then the top, we
want to kind of, like, scale out a little bit
to basically leave space to push
another one in here. So this one I can just
kind of like here. See, push in here later on to make everything fit.
So we have these ones. And this one over here, um, for me to decide
the size of that, I would first need to
kind of like decide the distance between my
two pieces, but for that, I first want to finalize
this piece most likely or finalize it up
until the Zbrush part, just so that I can
then use it properly. So if we go ahead
and go for, like, a close up shot over here, we can kind of see what
we need to create. So let's have a look. So we have this one, and
basically the way that it looks is if we just go
ahead and isolate it, there is a swift loop
sitting roughly around here. Now, for the front, it basically scales in
to around this point. And then it just pushes
it in, pushes it in. And then over here,
we are going to add those additional details. I do feel like
there's a little bit of bumpiness sitting at the top. You can go ahead and try a swift loop and just hold shift. And what that will do
is it will kind of just push out the shape a little bit. And what I'm going to
do is I'm going to also go in and already add
a little bevel here because we are going
to take this into Zebrt so this will become a slightly higher
plyversion just already hving a little
bevel there that will help. Same with this one over
here, let's hold Shift. Add a little bevel or jam
for here. And let's see. So now, basically what
it does is it simply cuts this away over here. Then I'm going to
select these faces, and I'm going to just hold Alt and deselect the Oh, no, wait. I probably want
to keep the back. Yeah, I'm going
to keep the back, and I'm just going
to go ahead and I'm going to do an extrude, and it should give me
an extrude that goes inwards because it is just
like an empty face like this. And then this one
would probably have a simple bridge over here so that these pieces over here can also
become bridge. So if I just go ahead
and bridge this, I can now select these two, Deselect the edges and bridge. And then this one
can just be like a capl and then over
here on this one, I kind of want to
have something here. So what I will do
is I will go in. I'm going to place a swift
loop to create a thin edge, which we can then go
in and, like, bridge. But because this is a cylinder, I want to make sure
that I kind of like merge this
down quite quickly. Let me just create
another swift loop here. Because when I go into Zbrush, I don't like the tart of having this straight edge over here, so I'm going to just to
move it down like that. Now this piece, if we just
go ahead and board select, we should be able
to just simply push in and then do a
simple cali over here. And now we can also decide
if we want to make this one, for example, a
little bit thinner. But in general, so we have
this piece over here. And then how would
the so this moves in. And then there's something
below it looks like. And then there's another
one that is kind of like it's like a half top, which kind of just lays on top. So yeah, we can make
something from that. We don't have to go as perfect. However, when I notice this, I feel like this should
actually be empty. So I feel like that this
stuff over here should go away and that this one should go all the way to
this point over here. But then what we want to do at this point is we do
want to scale this in and kind of, like, just place
this into position. Something like this. Let's
just go ahead and just do a quick weld to
clean up our shapes. This point, let's see. Over here, we just need
to also target this. Yeah, here, this looks
a lot more logical. This one, and then we
can just go ahead and we can select this outer edge over here and press Control
Backspace to get rid of it. Then over here, it's
just a matter of just to connect them because remember how oh doesn't
really want to connect. Just remember how CBS does not like it when we do not
properly connect stuff. So I'm just going to go ahead
and do a bridge because it didn't want to really connect
properly. So there we go. Okay, yeah, that makes
a lot more sense to me. So I would say maybe, like, make it a tiny bit
thicker over here, near the end. Yeah. Okay. Cool. So we got this piece done, and then the next piece
that we have over here, it would basically just
be like a half top. We can already go in and edit that because
it's the same dimension. So if we just go ahead
and convert to Poli, what I'm going to do is I'm
going to, first of all, create a little edge over here because I can
see over here that there's always a tiny little
edge going on, and it's only happening
on the begin. So if we just go in, scale
this a little bit out. Actually, it might
even be better if we actually place
one edge here. This one, we just move back a tiny bit of movement
back is fine, even though it does
change shape a bit. Yeah, do something like this. And then I just want to make
sure that when I move it, okay, so it does
still fit properly. And then at this point,
we can just go in to our side view and
delete this half of it. And then we just want to
go ahead and just select everything, do another extrude, extrude this stuff in, and then just deselect
these actually, no, I want to target weld
these bits together. So that we can do
a proper bridge. So now if we do
bridge, there we go. Okay, so that's that one. And for this one, I'm going to just start like a
chamfer over here. I have a feeling like I
need to reset my X forms. So let me just do
that. Let's try again, chamfer, lower it. There we go. Yeah, that looks a
bit more logical. So this one will
later on, of course, we are going to turn this
into hypolin and properly export it to Zebrs and then
import an optimized version. So we now have our
tiles here ready to go. Now, for this tile at the front, I do want to go ahead and
just create some details. So just checking like I want to basically find
a detail that's easy, but it looks like they're all of all my reference are
like, will the same. Which is okay. Then
I will just create something quite similar to
this. So we have this one. Let's first of all,
get started by just creating some tiny spheres. So if we go to sphere, and let's send this
to 22 or something. And you guess if we
would have to place this all inside of three max and
make sure that everything is, welded together perfectly
so that it can smooth, this would take a really,
really long time. But with this one, what we can do is see 24
or 22, maybe's say 23. Convert to an dipole. And now we can just
delete half of it. Okay, so we basically just
want to stick this in. And one important thing
is that here in the end, we do want to still cap this. What I tend to do is I
just tend to cap it. Then I tend to inset it and
then just press collapse. Or you can just literally select the outer edge and then just extrude this in and collapse.
Doesn't really matter. Just make sure the end is done. Now over here, I'm going to
go ahead and I have this one. I'm going to hold extrude to move this down,
and I'm going to collapse it. And this is mostly because
I need a center point. Because now what I can do is I can go to effect pivot only. And then if we turn on
snapping and make sure that vertex is selected
in our snapping, we can snap this to the center over here,
over Pivot point. And this way, what I can
do is I can go ahead and I can basically go in, and
I can say like, Okay, I want to have
another one that is like this far away and I can just go in the number of copies, and I can just guess how many. So I guess one more over here. And now you can see
that now that will just like properly apply
a bunch of copies. Now I can see that over here, this one has a lot
more small bumps. And for us, it just depends about readability
and that kind of stuff. Yeah, maybe I do want to make
it a little bit smaller, so I can just go
ahead and undo that. I can make this a
little bit smaller. I do need to once
again affect pivot, and I need to select it and just merge it or move it down there. And what I'm going to do is,
I'm just going to turn off my rotation so that I can kind of, like, put
this in the center. And I kind of want to, like, it does not always extend
out exactly the same way. So you can try to use an array, but using a circular array is
just a little bit annoying. So I would just go
ahead and do like 1.5. Oh, so 1.5. And that's why that. So let's just add
a bunch of copies. Over here, you can see that
I accidentally created a few too many. But there we go. Just double check that you do have none of them
overlapping exactly, which might sometimes happen. But okay, so that's
looking pretty good. Now we have the Ying Yang type or the fish type
shapes over here. Basically, I only
need to create one, and then I can do the rest. So if I go in and I probably
just want to go in and do this as like a
spline so let's see. If we go for a line, and you know what? It might just be easier if I just quickly create
a screenshot of this and then just go
into Tria or go in here. And just like, no, I
didn't mean to do that. I meant to go for,
like, 1024 by 1024. And just throw in my
screenshot that I created. Here we go. Let's
just save a copy. JB. 01 again. Okay. Instead of me
just trying to guess, it's probably easier if I just do this. So we have a plane. Over here. We will
make it 16 by 16, get rid of all of my segments, turn this into default shading, apply a material to this, and select our material, and then I have this bug, which sometimes happens where I need to restart
my entire t max, but maybe I can
just track it in. Nah, oh, that's annoying. I need to restart my
entire three as max. There is a bug where the
material editor never opens up. Okay, that's fixed, and
I already loaded it in. Okay. So now let's try again. So we have over here, I
can just create my spine. To carefully move it
around this entire shape. Doing this by hand without any reference to trace it would have been
really annoying. Then over here,
I'm just going to go ahead and just move it down. Of course, this splint will
only place it on the top, so we still need to
make quite a few edits. But if we just go ahead and
go in here and now go in and double check let's go into our interpolation and said this is a
little bit higher. This one, let's
move it a little. Also, sometimes you
can just set it to smooth and then set it back to Basier that way you can reset
the shape a little bit. We just want something that is not like this. There we go. We want something that
is fairly smooth. You won't be able to see much of it when we are done with it, so very slight
incorrections are fine. But do try to just make
this flow quite smoothly. Over here, something
like that. Okay, cool. So we have this shape, and now our troubles
are not yet done because basically what
we need to do is we need to make the shape taper off, and it is going to be
like a round shape. So let's start with
the first one, which is just trying to
get the actual shape. What I would say is if I do an extrude and I extrude
this out quite a bit. Let's start with just 1.5. And if I then do an edit, I was hoping that
I can literally just go in here
and do a chamfer. If that doesn't work, I can
literally just make use of my turbo smoot. It doesn't do it the
way I wanted to. Another one would be like to do, like I said, the turbo smut. But yeah. Let's have a look. So most likely the reason the Turbo smoot doesn't work is because we would
need to connect it. However, before I connect it, I want to make sure that this is the right technique
yeah. Let's see. If I just go ahead and that's annoying that I would need
to connect this first. Basically, what I'm thinking about is because you also have the skew modifier or skew, I should say, over here, this allows me to
basically push stuff from this side to this side
to make a taper off. The problem with that
if I go ahead and see in the Xxs I think, maybe maybe not scoop,
but maybe, like, squeeze or squeeze.
Let's try squeeze. Yeah, yeah, okay,
that's the one I meant. Now, basically,
with the squeeze, as you can see, like, we can tape it off, although I need to, like, have a quick look at
let's go into our Gizmo. Yeah, over here. And
I want to, like, push this down here, and I can make it a little
bit bigger if I want to, like, squeeze it more or less. So this will squeeze it. And I actually need
to squeeze it, like, mostly, like, down here. You can still, rotate this. I need to make this
a little bit longer, but we can rotate
this basically. And as you can see, that we'll, sort of, taper it off good
enough for our purposes. Now, what I'm thinking about is that, how are
we going to do this? So we have this
option. Ironically, I literally just like seconds
ago thought of this that we can technically also just do this. Taper it off like that. I guess that might even be
easier to just do it this way. Fair enough. Sorry,
that's my fault. So I'm thinking about this
too difficult because I'm still thinking about the
best way to make this round. And I think it's probably easier if we just make this
round using the Turbosmot. So yeah, you can use the squeeze or you can use this option. At least now I showed you twice. I'm just going to use
this simple option. Now, that means
that I need to go ahead and just probably
start connecting this, adding another
added polish that I can also remove my
work if needed. So if I go in here, I will go in and say bridge this stuff
and also bridge these. Then I can go now and just
bridge all of this stuff. I hope because what I'm
worried about is that it will not read this as a
nice smooth option. But it's something I need
to have a think about. Normally, Turbosmooth
does actually often work already if you just place
a few base segments, So what I'm thinking
is that if I do that, like a few of these
base segments, then maybe I can already see if this result is the way
that I want it to be. Let's see, to smooth. No, I think we really
need a connection. Oh, and what we need is
we need to get rid of the back because with the
back Oh, yeah, see here. So without the back, you can see that it does sort of work. But having these problems
over here is fine. I can live with that
because I can basically just smooth this all
out inside of Z brush. This stuff over here, I'm not
too happy about that one. If we go to add a
face like this one just doesn't read well enough to the point
where I would need to go in and delete it and just do another Caple
and let's have look, it does read better. Maybe if I add a bunch
more faces, but yeah, here it just that's annoying. Um, let me have a
think about this. So let's try to first of all, place a sport loop in
the center to kind of, like, catch those edges
a little bit better. Mm. No, I actually don't
want to have the sport loop. We can basically try. There isn't really a good
solution here, by the way. So I can basically try to
place a few more etches. The most important thing
is that they are straight. So that's why over here, because we have less
and more etches, we cannot really go as straight. So if I go in here, And hopefully that will
help a little bit with my smoothing problems
that you saw. And else I simply need to use Tobi smut and
I need to, like, fix it inside of Or Tobi smut, I need to use dynami
and I need to fix this inside of substance brush. I cannot speak. Um, so
this one right now, I'm mostly also thinking
about from a distance. I think from a distance,
I can probably live with this because what I will do is I will
literally smooth it. If you want, but you
can already do it, you can temporarily
already export this. However, I cannot export this without having
anything in the back. So if I go in here and
now just add an Adi pool, the reason I add and Adi pool
is because of the turbo. I just need something
in the back, so I can literally go to
Vertex mode and press Connect. And then it would
connect all of that, and that's already
fine for what I need. So I can just already
export this quite quickly, and I will leave
this chapter off by ending this and then
placing it in the position. Exports two Z, OBJ Swirl underscore 01 and just export it using
the Z brush preset. Here we go. Next, we can
simply go ahead and import it. Exports to Z, swirl. Here we go. Import, set
like a nicer base material. And then the general
goal is that we just go ahead and
art a dynamesh, and then just simply soften it out while it's still
a quite low resolution. And then after that, we
can go in and then at a higher resolution,
make it more softer. But basically over
here, you can see, I'm just like carefully and I'm not even using my
drawing tablets right now. Here, I want to be very
careful, actually. So here I'm going to
go ahead and just add another subdivision because then the softening will
not be as impactful. Something like
this. And then once we actually merge this together, the very tip will be
merged together properly. That's why I wasn't too worried about how this looks inside of. The Max. So we got this one. I can just export
it like it's 35 K. It's a little bit high. Yeah,
actually, you know what? For T max that is a little bit high when I need to copy it. Let's just do decimate current, and let's just set it
to 20. There we go. Now it's only six K. And now you can just very
quickly, export it again. Export from the swirl
01 import or export. Then go in here, just throw this into our backup
folder over here, turn off isolate, and then we can just go
file import, import. Exports from Z, swirl at a
ply Import it. Here we go. Center pivot. Now it's just a matter of selecting
all these bits and just isolating it and moving this to let's see Y frame
over right over here. This one is going to
basically be inside of here. We can go in and well, you can already
see it pushing in. Then we have another one, which we can duplicate and
it's going to be inside of here like this. Then we have another
one which we can duplicate again
and it's going to be rotated a little bit
more inside of here. Now it's just a matter of
making sure that this is roughly in center and tada. There we go. We have
a little swirl. We might want to even push it forward for
now a little bit more. And then later on what
we're going to do is we are inside of Sea brush, we are going to use Dynamesh to merge it
altogether and then just, like, soften it out
and stuff like that. But for now, that's
looking totally fine. So we got these pieces now done. What I will do in my next
chapter is I'm going to go ahead and already probably turn both of these to final
inside of Sea brush so that we are done with that and we don't have to worry
about it anymore. And then we can get started
with the rest of the tiles. So let's go ahead
and continue with this in the next chapter.
62. 62 Creating Our Roof Part3: Okay, so we now got our
base tiles over here done. The first thing that
I'm going to do is I'm going to actually
turn this into a hi polymodel
inside of three Max. The reason that we
want to do this is because when we take
this to ZBrush, Z brush does not see
smoothing groups. So the edges that
you see over here, Zbrush will just try to
keep those edges harsh, especially when we start
to use dynamis like these edges that you can clearly see over here,
they will stay the same. So in ZBrush, this asset would look like this, and
we don't want that. So it's best to already
smooth this inside of three IMAX before we
actually take it to ZRh. Now, for that quite easy. All we are going to do is we
already added some bevels. So what I can do is I can
go ahead and already do a turbosmot and see if
that holds up well. I can see over here that I do need a few more
supporting loops. So over here, if I just turn off the Turbosmot let's have a look. First of all, I need a
supporting loop here. I need two supporting
loops here. These supporting
loops just basically stop smoothing at
this specific point. I do expect that you already
know what hypolemding is because it's one of the
most common techniques. I'm going to also do one here. And then over here, we kind
of need to make a decision. So what I will do is I will use my cut tool and I will
cut it down over here. That's probably the best thing because we do not want
to interrupt or we want to interrupt the actual
cylindrical shape as little as possible. Over here, what I'm going
to do is I'm going to go ahead and yeah, we kind of need to
do some manual work because as you can
see over here, it's a little bit broken. Can I just connect like
this? Yeah, you know what? I'm just going to go ahead
and just do this menu. I do realize that this outside line I
actually do not need, so I'm not even going
to continue it. I wasn't really
thinking about that. But this line over
here we do need Okay. And then this line,
I'm just going to go ahead and just continue here. Then this line that we have placed on the outside just
needs to go around the inside, just so that we actually have now we'll just attach it there, just so that this inside does not collapses down or
something like that. And we want to just
push this over here. Now we have one more and
that's one sport loop here. Technically, we also
need to spot loop here. But what I can do
for that is I can place a loop here and a loop here and then just
connect them together because, of course, triangles they
break our supports like this. And then I also wanted to go ahead and just
place a loop here. And I'm just going to yeah,
just connect this one. Okay. So the bevels over here, they should kind of, like, take care of this kind of stuff. Now, we do have one in the center where I saw that
it wasn't really good. So I'm just going to
select my center edges, and I'm just going
to inset this. A little bit. There we go. And now
if we do turbo smooth, now you can see that now the
shape doesn't break anymore, so that is nice and smooth. So that's already
good. So this one is pretty much ready
to go to Zebrah. Now, I just want to go
ahead and do this one. This one is quite a bit easier because what I can do is
let's art and at the pony. The geometry is a lot
cleaner for this one, so I can just go in and
here, you know what? I'm going to place this one here and just like, clean this up. I don't know why
there are some Okay, I guess because of the
optimization that's weird. Normally, I don't
have that problem. I'm going to place
these over here, but I want to go ahead and
place them slightly different. So now, you know what? I'm
going to do that by hand. It's probably easier
if I do it by hand, so if I just go in. So that's unfortunate that it doesn't work as cleanly
as I was hoping for. So I just need to have a
good position so that I can go around here. Here you can see that sometimes Tris Max gets a little
bit confused if it wants to merge etches or
create brand new edges. Okay, so we got this one. So
now if I place another one, what you can do
is you can break. Like I'm on purpose
going to break the topology so that
now if I place a loop, I can place a fairly
clean loop like this, and that saves me time
because then all I have to do is just
connect it over here. And connect it over here. Okay, so that looks a
little bit more logical. And then we had one more
loop that goes here. What does it do? It ends here, so let me just go ahead
and just merge it down in case it will
cast me any pumps. Also remember that
even with this mesh, Trees Max still wants to have all your topology
looking fairly clean. But this one now, if I just
go ahead and turbo smooth it, I turn on isolate display that I can properly
see what I'm doing. That's looking fine. Okay, cool. So we got these two
pieces ready to go. Now what I'm going to
do is if I just have a quick look So we
got these pieces. These pieces here do not
need to go to Zbrush. So I will just go ahead
and looking at like, Okay, so the end piece
is exactly the same. Here it is also
exactly the same. And these we can
do all in Zbrush. Okay, so since these are the only two that we
need to go to Zebras, I'm just going to
go ahead and just already throw them into Zbrush. And then we can just use them because I want to
already, like, of course, place them into place so that I know how white my tiles need to be and all
that kind of stuff. That's basically the whole
goal for this that I don't know yet what I want
to do until these are done. So these ones, I'm just
going to go ahead and call these because these
are the rooftop tiles. I will place these into a
new backup or a new layer, and I will call this
one tiles score. PHP or just something to identify that these are going to be like a backup of the tiles. Now at that point, one
important thing is in your tops turn off
isolate display. If you keep that on, your
export will not go correctly. So with that done,
we have these ones. I can go ahead and I
can just export them. And two Z and just call
this Rooftop tiles, and I will do the
squares iR one in case I need to do anymore
in the future. An export. And then inside a Sebge the only
thing that we need to do is rooftop tiles over here, is we need to drag
in these pieces. Turn on the basic material and
just turn on dt over here, and we basically just
want to write dynamise. Actually, this piece over here, we don't even need
to dynamize it. So what I'm going to do is I'm just going to like it was mostly this piece now I think of it because this piece
is absolutely perfect. So I can go to split and is
this already in different? Okay, so it's already
in different polycops. It might be easy to
hold Control Shift, because if I need to split it, I'm splitting all
of these measures, and then I need to combine
all of them together. If I just do Control Shift and click once on the roof tile, I want to have gun and
then click on it again. Basically, what it will do is
it will hide the roof tile. At which point you
can go to geometry. Modified topology, you can
press delete hidden here. So now that roof
tile will be done, so that will just save us
a little bit of effort. As you can see over here, this is what I was
talking about. I can still see a little
bit of the smoothening. However, it does
not look too bad. You can, if you want,
press subdivide once, and you can see that because
all of these meshes are already hypol this will be fine. And then at this
point, I'm going to go ahead and
press delete lower. And the most important
thing is for us to do a dyna mesh here. We are going to do a dynamesh, and then we're going to
slightly soften this. I hope. So over here, we will probably lose the end part
because it's so thin, but for the rest,
that should be fine. So if we just go ahead
and go to dynamesh, and set is quite high. So let's start with 1,000. Here you can see that
now it softens together. If I go ahead and
go for maybe like 1,300 over here,
that's looking good. Now at this point,
if I hold Shift, and just carefully smooth this. You can see that now, this is just a really easy way to just merge everything properly
together like this. And then I need to go
in and I'm going to make my brush quite
a bit smaller. I don't have my draw
tablets right now. And I'm going to start by just removing those
tails a little bit. And then I'm going to
set my oops, on button. Then I'm going to set my
intensity while holding Shift down to around halfway, a little bit more like 40
and just around these edges because I don't want to break this shape since it's
already bit fragile. I'm just going to go
around these edges. Over here. Like that. You could also go
in and I'm just gonna, like, soften this one out a little bit more over here. Okay, cool. So that's pretty it. Now, I can go in just in
case one sec let my tars. Over here, I'm just
going to soften this because you can see
a little bit of, like, still the edges. So I'm just going to soften
this area over here. I should have made it a
little bit higher poly. But at least now it's
like at the point where I can just soften it, and then it will be fine. And then over here, you
can also already see that, but let me just finish this
off by soften this stuff. Over here, you can see that this happened because we had to, like, combine edges together. So this is like a great
thing also where we can just go in and kind of, like, just soften it out. Here we go. And I'm going to set my do size
a bit bigger and just, like, nicely soften
this area over here. Okay. So that is now done. That is one nice style of
almost 1 million polygons. But that is working. You can see a few small edges over here, but, of course, remember, we are looking at it from this distance or
something like that. So what we can do now
is we can optimize it. We can go ahead and we can decide how optimized
we want this to be. So if we just go into
our wireframe mode, decimation master,
preprocess it. And this time we only have to do preprocess current and not. Okay. And let's just keep
it at 20% and lower it. I'm actually going to go
outside of my Bf remote first. We are going to place this one. Actually, this one, we will
not place around too much. It's the other one that's
going to be placed around too much or around a lot. But let's go for a level where we do
not have to bake our normal maps for this.
Do I say that, right? Yes, I say that right.
Like, I do not want to bake normal maps for our actual shapes
like I did with our scalps because they are hard surface and
we are using nanite. The only difference is if
you don't want to use nanite then you would want to
bake in your norm maps. So what I'm going to
do is I'm going to basically keep this
one at a level, if it sets to 50, where here, like around 17,000, maybe a little bit lower where
the shape is still intact. Remember that we will
add smoothening to this, and then the shape will
look more logical. So 8,000 is a
little bit too low. 13,000. Let's do
something like this. So when we smooth this, we can basically just
like Uv unwrap this and then take
it from there, a call trick that you can
do because over here, you can see that we need a
lot of detail on this side, but we don't need as
much detail on the back. What you can do is you
can hold control and select the font over here. And then you can preprocess. And what it will do is it will
only preprocess the mask. So now if I decimate it at 50%. Okay. 50% was too much. It's really sensitive
over here, 85%. You can see that
it's only trying to decimate those few
etches over here, which will make
everything and then if you get rid of the mask, you'll see that now,
we managed to still save another 2000 polygons. So that is something that
you can also do by literally just going in here and
holding this stuff. If you just want to
keep this higher pol, you can go in and just
like mask this stuff out. Just everything that
you want to keep higher ply, just mask it out. Let's say, just like
around this edge. Over here. And the mask can be messy. Don't
worry about that. And then just preprocess again
and then just do one more. And then you can see that
now we are at 10,000, and I probably don't
want to go lower than that. Okay, cool. So we have this shape. I don't think do I need to save this? I'm going to export it, and
I might want to save the one before we do the
decimation just in case. So exports, folder, from s roof tile on score 01. And let's just go
ahead and press Save. And then what I can do
is I can just go in here and you can just go back to where we had 800,000
polygons over here, and I will just do a saves I will save this for
you guys in saves. Let's make a new folder called. Roof, just in case rooftop
tile 01, that should be fine. Cool. We can now go
ahead and go in here. This one, I want to drag
back into my rooftop tiles because it end up being a
nice version that we can use. This one is in our pre hypol now if we just go
ahead and turn it off, file and import and import our rooftop tile 01 over
here as an added pool. We now have this one and
I just want to basically go in and add some
weight normals to this, and there we go. Easy does it. So
we got those two, and just for good measure, you can go in and
quickly apply like a plain material, make
it a bit lighter. Here we go. Okay, cool. So those tiles are
now ready to go. So oh, wait, I should
grab my other texture, which I image that I ready. Close. So now that
we have those, what I'm going to do is I'm
already going to, like, build this structure over
here so that I can then just, like, start also placing the tiles in between it
and stuff like that. And basically what we will do is I will
build this structure. I will build it
like on the corner, and then we would just have
this corner piece that we will have attached to it, and
we'll take it from there. So let's go ahead and
just leave things here, and let's go ahead
and continue with this in our next chapter.
63. 63 Creating Our Roof Part4: Okay, so what we're
going to do now is we are going to basically
place around our tiles. Now for that, we kind of first need to create the
UVs for our tiles, just because if we are going to place
all of these rounds, it's going to be pain
if I then need to go back in and UV unwrap it. However, take it with a grave salt because
we are going to, of course, pack stuff together. So all of these UVs
will become unique, but we just want to go
ahead and create the base. What I'm going to do for that, I'm just going to go ahead and select both of these.
Wait. 1 second. I need to make sure
that when I do this, let's have a look. So this one, isolate
this plate turn off, set it to as low as
we want it to go. Actually, now that I
think of this one, we just go get rid of those mood and get for weighted normals. I mean, we are already
using a hypole doing this feels a little bit
low. Let's do one. Turbo smooth over here,
and then weighted normals. There we go. Now that looks
like super nice and clean. Basically, the reason I want
to push in more detail into these rooftop pieces
is because I feel like the rooftop is going
to be one of our main, like, models that we
are going to create. And also, I want to create
like really nice close ups, like you can see over
here, this kind of stuff. So that's basically
my goal for this. Anyway, I now have these done. Turbo Smooth doesn't have
isolate display turned on. I'm just going to
go ahead and going to export both of them. And I will do, um I don't know. I'm going to make a new
folder called UV, probably. Um Roof tile 01uv, export it as a Maya preset
over here and just press Done. Okay, so we can save
this and now if we go into RSM UV software. Here you are loaded in and then that we have
to do because yeah, this is again, UV on
wrapping this type of geometry inside of trees max is such a pain, so I'm
just not going to do it. Over here, I am
going to, let's see, I can probably
double click this, and it will go all
the way around. And if I just see, would I be lucky enough
that I can literally just now 1 second. I need to go here. Would I be lucky enough that if I unfold this that it would
unfold perfectly. Ah, I mean, that is pretty good. Maybe over here because you can see that there
are some distortion here if I just press C here
and also press it. Here. And also here just to get rid of that
little distortion, even though you probably will never see it in our texture, but it's a little effort to make this a
little bit cleaner. And let's have a
look. So now if I unwrap it again, there we go. Okay, perfect. So
that was an easy one. Now we have this one. I'm just going to go ahead
and I'm going to isolate it. What I was hoping is
that for the top, that we can literally
just unwrap the entire front and that
it will unwrap correctly. So what I'm going to do is
I'm going to try and keep this line as straight as possible. Over here. And then just unwrap
that. Even if there's a tiny bit
of distortion, it is still better to just not have any UV sitting in all of these complicated models just because that will
look like a mess. I got that one. Now I'm
going to let's have a look. I'm going to unwrap this. Let's do That's hoops. Not that. Let's go ahead and
just, like, unwrap this half shape over here, and then we can also
unwrap the inside. It's probably the
best way of doing it. This one, I'm a little bit less picky about where the UVs are. So I have this half
shape over here. At that point I should be able to just continue this shape by going around these corners. Yeah, I really love Rsmv doing this kind of
stuff instead of threes Max, because I come from a time
where I had to do this kind of stuff in threes Max.
It was such a pain. Like first of all,
you really needed a powerful computer just
to be able to handle that. Let's see. This one,
I'm going to go here. And I want to see. I want to go around like this. And then
I'm just going to go ahead and actually
hold the shift and just go all the way here because it's probably the cleanest way. So see, so this one will
basically unfold like that. And then this one automatically should unfold also by itself. Let's go ahead and
where is my here. Let's just select
everything and just unwrap it, and
let's have a look. So we have like a
straight piece straiece straight piece looking
fine. B piece. And what I was thinking about most is over here, this one. Okay, so yeah, you can see here that there's a little bit
of stretching going on. However, remember
that this is metal. We will not really be able to see that kind of stretching. So just in the sake, because I rather
have a tiny bit of stretching than have
UVs looking have, like, actual UV seams
and stuff like that. Plus placing seams here. If I place one, I
would need to, like, place a seam probably
around every single one of these pieces
over here to cut them out. So this is just easier. Now we have all of
this stuff done. Let's go ahead and
just press Show. And I'm going to do is, I'm just going to contra, select everything,
align the islands, and for now, I'm just going
to go ahead and pack it. However, we are, of
course, later on going do some other
stuff with it. So now we can just go
ahead and save Azin. We can go inside of Tres Max. This one I'm now going to
drag into my Gooftop backup. Oh, yeah, here, Gooftop hipoli. And then this one I can delete, and then I can just go
ahead and go import again my UV rooftop,
so let's open it up. This time, I want to just
add a prefix over here. Just do something.
Doesn't matter. So it's like. The reason you want
to do that because if you import assets that have the exact same name as assets that are
existing in the scene, it will try to
overwrite those assets, and we don't really want that. So we just can go ahead
and press Import, and now we have our assets
ready to go over here. And you can, of course,
double check to make sure that your UVs are
properly intact. Last thing I'm going
to do is just add some weighted normals
and take it from there. Like I can see some small
problems over here. But that shouldn't really, that shouldn't really
matter too much. Like, you won't be
able to see that. So that should be fine. Checking. Because
what I can see over here is that our meshes
are a bit broken, so let's reset the X for. Sometimes it happens. Sometimes the vertex
normals get locked. And what I tend to
do is I tend to just go in here and add
added normals, and then I want to
basically average them. Oh, wait, contra
A, average them. Now everything is broken, but now if I add a
weighted normals on top, you can see that now or even if I add like a
smoothening no, weighted norms. The weighted normals
basically reset it. So I was just messing
around with stuff. So okay. Wait almost
here. This stuff is fine. I'm just going to hold
control and just copy. So this one, I'm going to leave to the site
because, remember, we want to go ahead
and we want to also texture individual assets of these that we can
use them later on. I want to go from the
bottom to the top because it is easier
to cut stuff up at the top if we do not reach, like an even shape
than at the bottom. So basically, what I'm going to do is I'm going to go ahead
and just select these two. I'm going to already. Let's
have a look place this one. Probably in here, you
need to decide already on how much space you
want to have left. My Alt button is broken. One sec. Weird.
It's fixed again. What I'm going to do is this
one is going to be Okay, so we have one more tiles
sitting next to it. So the position I need
to kind of take with a grain of salt
because I don't know yet how white my tiles
are going to be. And I'm going to place this
already with the position. So this one can nicely go here. And we need some space for the tiles also to
fit inside of here. So this is already kind of
like deciding the thickness, but we can, of course, play
around with it a little bit. Actually, you know what doing
this, it might be easier to first place it on
the roof so that we can properly guide along it
and then do the thickness. So if I have a look here, I want this over
sticking a little bit, and then we are going to create some detail just in the front. So if I go to my side view, like, the first position
is the most important one. So if I just overstick it
somewhere along this line, Yeah, that should look good. I overstick it. I will have one of my tiles going
in here and then I can have a little detail sitting in the front that
I can use also. Now at this point
for these tiles, what I'm going to do is I'm
going to go ahead and set my pivot point at the post
probably here at the end. Actually, probably
over here at the end, which will make it
easier for me to basically rotate this
up a little bit. Knowing that we
are going to place this one in the
position over here. And then it's just a matter of basically roughly
placing the tires in the same location and moving them up. Okay. And it's okay to slightly change the position because the tiles are also just
placed by a person, so it's not like every tile is exactly perfectly
placed in real life. So we're going to get started
with just doing this. Remember, we are going
to have a close up. So later on we are
going to, like, add some slight height
and position variation, all that kind of stuff just
to make it look really nice. But for now, let's first of all, focus just on
getting to the top. And just seeing what
that looks like. Okay, I'm lucky that we are managing to push in
quite a few tiles. Also, something that we need to keep in mind is at the top. Let's have a look. Over here. Okay, so we are basically when we reach the top, we are going to,
like, later on, like, place another round
bit on top of it, and then this is just going
to, like, sit on top. So I will have a Yeah, I will
have a think about that. Let's first of all,
just finish this one. Basically, I'm just
thinking like, at what point will
that round bit arrive? Because over here, now you
can see that now we have, like, for example, that our top. Here we are one piece short. However, if I now
go ahead and just, like, again, copy this one, it would make sense if
this is going to be see, where is my pivot points. Sent to pivot. There it is. If I go ahead and push this in, it would be like, oh,
tonal snap rotation. One piece. It's kind of like sit here and it would kind
of, like, hang over. The top a little bit. And then this piece would
kind of like just end. At that point. So this one
would I don't know yet. It will somewhere along
here, it will hang over it. I'm just thinking if I
need to do this as like a because it will be
not really visible, but there will be a lot
of dirt in those areas. So I'm just thinking,
like if I need to add that to this shape. I think it would make sense, actually if I add that to this
specific shape over here. But the one that we are creating now is just like
the modular piece. So it is without this end. So we need to fight like a good position where we can actually place it. So for now, let's not
worry about that. We can just do this and
we can actually just add a number of
copies over here. And so we have this one over here and that
is sticking out. That's fine. However, now, I need to choose because I
want to push this in here. So what I can do is I can
get it as far as I want. So let's say that I want it's done of snap rotation,
probably at this point, and I could go in and just like carefully
move these a little bit, all of them until it all compensates out that
additional scaling that we have to the point where you don't really
notice it anymore. So this one definitely
needs to rotate. Many of these actually
need to rotate a bit because it actually
pushes in a bit more. Push this one in Here
we have another one. And, we need to rotate them
a little bit more because we are changing our
positions quite heavily. But I think something
like this, you will not really notice. Yeah, here. So you won't really
notice now that position. So that's a pretty good
position to get started with. Now, based on that, it also kind of depends how far do
we want to stick this over, and that all depends
on our tiles. So what we're going to do now is we are going
to, first of all, decide how large our
tiles are going to be, and we need that for
a lot of positions. So for our tiles over here, they look really simple. So they look like simple pieces. I know that we have some
more complicated tiles down here or up here. I will actually make those
separately from these. And for these ones, I'm basically going to
just select one row. And then based on this row,
I'm going to actually, oh, I feel like
it would probably be best if we already
place this roughly here. I'm going to decide
on like the width. So if I go in here, I probably want it to be
n not two tiles long. I think something like this
feels correct over here. Now what we can do is we can decide on the thickness
of our tiles. Now they do have some bending, so that's something we
need to keep in mind. So if we go in here and just
start by moving this up, and then if we go to our
front view over here. So our tiles, they are
basically going to very slightly bend below this. So if I just basically
create a line up here, down here and just kind
of like slightly bend it. We can start with
something like this. I'm going to actually start by just grabbing these pieces. Gonna sent to my pivot. I don't know why the
pivots are so weird. And what I will do is I will
go ahead in and I will, like, place this fairly
straight over here. Now I lost my line. Here it is. And with this line, I can
go in and I can basically, do a proper position. So let's go in and
add a sweep modifier. Set this to be a bar. Let's go ahead and just like, first of all, the
side thickness, and I feel like a thickness
like this is pretty good. What is it right now? It is 2.5. Yeah, 2.5 feels quite nice. Next, I'm going to
go ahead and go to my side view because
it's a bit uneven, so let me just like By Corner, try to move this one down. Make sure that it kind of, like, pushes out of it. And so this one,
it would be like, pushed forward and
then it would have a length of so we kind of like need to layer
it on top of each other. But the layering will happen
also when we do the bending. So ten, two, 15, 20. I guess if we do 20, and then I just need
to have a think about so the layering,
how does that? So they layer stack them, but they layer stack them
a bit like this where it's like, one, two, and three. Yeah, so they would
stack it like that. Um, the thickness is still fine. Basically, what I'm going
to do is, first of all, I just want to make
sure that it's, like, a fairly even bend. Okay. Yeah, that looks fine. Next, what I'm going to do is
I'm just going to go ahead and I'm going to for this one, we can probably just
use weighted normals. I will go to my interpolation and I will make it a
little bit higher. Let's do like 24 and then simply add like
a HEV because this is such a simple shape
that just doing chevas and weighted normals,
here, that's totally fine. Okay, so we got this piece. I'm going to move it next
to here. You guessed it. I'm going to UV unwrap it. However, this one, we can just
kind of like UV unwrap it. In here, and I will go
to my edge your faces. I will probably just
like place an edge here with select everything. Iron, one edge here, one edge here, one
here, and cut. And unfold and it should
already be enough. Okay. Let's go ahead and let's
actually leave this one, duplicate it, and this
one we can just already convert to an antipol by
collapsing everything. And now we need to have a think about the actual collapsing. So most likely what I will
do is I will actually place my pieces around my tiles now that I see
what I need to do. So I'm going to get
started by first of all, getting the correct orientation. And I probably just want to
follow the orientation of my first initial tile over here. If I have a look at thickness, I can see that these pieces
over here already need to move up a bit. I'm curious how the
thickness is going to work. So I know how it
works in real life, but, of course, we are now wait. We need to go a little bit down. Second, go to,
like, a side view, just move it down until just
before it starts to clip. So because basically,
when we go around this, since this stuff is overlaying, it would need some kind
of like compensation. So if I go ahead and
move my pivot here, if I go in and I basically
overlay this one on top, what you can see is right away, we are adding a huge amount
of space in between it. Over here. Now, I don't know if it might be easier if we actually start
from the top in this case, because at the top over
here, you can see, it's it gives us a bit
more flexibility to, like, then move our
tiles down, basically. So if I have this one here at the top,
and I will kind of, like, sort of, placed into
position, something like this. My idea was that what if we go in and then Oh, no,
wait, we cannot do that. I was just thinking
of, like, the tiles, but it would go in the
wrong direction over here. I think the next thing
that we can try. So yeah, we are just, like, so I would recommend not following along until
we figured this out. The next thing that I
wanted to try is that basically we are going to
place like an entire row, and then we are just going to, like, slightly manipulate it. So for this, what I would do is Sexy probably grab this one. So first of all,
let's have a look. So we are going to place these ones roughly like
this point because we, of course, need to
sort of evenly place them, roughly around this point. Now, when we go ahead
and add a lot of them, so let's just go
for like 20 copies. This is basically what
it will look like. That would actually work. It is fairly straight. I do feel like 20 copies
might not be enough. But what we can do is we can just place it like this
and then bend it all down. Oh, wait, 20 copies might
actually be perfect. So if I go ahead
and first of all, I most likely here,
the top is attached. I most likely want
to kind of, like, just place this on the bottom. So now you can see that
we have these pieces. Like if we would
do this straight, we would never be
able to do this. But now if we go
ahead and just add an FFD box, so you
have the two by two. I'm going to add the
FFD box over here. And what I can do with
the box is if I go ahead and let's see. I do not need that length. Do I need the width? Yes, I need the width to be around two, and the length can be zero. Oh, sorry, width needs
to be around four. What I'm going to
do is I'm actually going to go and set volume. Oh, sorry, the lattice,
actually, I mean, I'm going to rotate this to
make it a little bit easier. And actually, I'm going
to then switch this from two to the height to
be four, like this. Looks like I cannot.
Alright, let's go to our local view so that I
can properly, scale this out. So yeah, you are able to, like, manipulate the box
and stuff like that. So just kind of, like,
scaling this to fit my model better so that
I can hopefully edit, it's a little bit better. Doesn't always work,
but let's just give it a try. We got
something like this. Now if I go ahead and go to my FFD box and I select
these control points, I should be able to
carefully move this down. It does seem like it
creates some stretching, but it looks like the
stretching compensates when I carefully place this down, a tiny bit of clipping is fine. I just want to make
sure that there's no clipping at the front. I can push this
out and this kind of most likely
already kind of does the tricks do like a
little bit of rotation. Oh, I can see over here that it is not touching
this last bit over here, but I can probably just,
like, fix that myself. So something like
this seems to work. If I would go in
and just kind of, like, place this over here. And then what we would need
to do is we would need to basically move our tiles up quite a bit to
compensate for that. But I guess that's
why in real life, they have like this little piece sitting in front of
it to kind of, like, hide that and to make sure that no water
and stuff gets into it. I feel like that I
need to go in here and just kind of like,
push these ones. Up a little bit. Wait, over here, I can
push them down again. And I'm okay with doing a little bit of clipping
because you cannot see it. So I'm just trying to
make this fit first. And then this last one, I would go in and I would, like, replace that one because
I messed up my lattice, but it's now way too late. So let's go ahead and just, like, move this one over here. I think we got something. I think that will work
if we use this part. Now at this point, what I can
do is I can probably go in and maybe I will make
a backup just in case. I will select all of this stuff. Over here and throw this
into our backup layer, which is down here,
backup. Okay. Then what we can
do is we can just convert it to an
added poly so that we can slightly alter the positions again and take it from there. Okay, that was a tricky one. Well, not tricky. It
was an annoying one. So let's convert add poly. Now for this one over here,
actually, you know what? I don't really
need to remove it. I just need to kind
push this below here. And like here, you can see that those tires are already kind of, like, correct where it
kind of pushes below. Only here on the
side, it does not. So I feel like these ones, I might want to make them
a little bit higher. So let me just temporarily grab these and just push
them out a little bit more. Let's give it a bit more space. And then let's
have a look. So if I would grab these pieces, why is my pivot
point so annoying? I don't know why my pivot
point is acting up. It's not this one. These
ones should be correct, so it's just this
one that I need to. And I'm going to set
my pivot point for this one to, like, the side. And for now, we can just
kind of ignore this. If you want, you can even
remove it because we need to redo this one anyway. So let's remove it just so
that we don't get distracted. So the first one is
going to be here. And I guess it would be
something like this. Now, in terms of the
clipping to avoid clipping, I think the only way
to really do that is to push everything up a little bit more and I
will see what it looks like. If this does not look good, I will end the chapter here, and then in next chapter, I
will have a solution for you. Like a tiny bit of
clipping is fine. And if I see over here, they are really close
together also top, so there isn't a lot of an edge. Now, ideally, I
would want to have this entire edge fullly exposed. It looks like this. But I'm a little bit worried
that if I do that, actually, you know what?
That might be fine. So let's go near that it would
give me less flexibility. But this might work. So
it's often like, yes, it is often best to make
stuff the way that it works or that it's
made in real life. That's often like
the easiest way to just make sure something works. But sometimes we
just have to take some slight changes
because often stuff in real life can be on
the inside where we as three models
never can see stuff. It can be more complicated
on the inside there, where, like, things lock into each other and that
kind of stuff. At this point, I'm starting
to get quite High. And, of course, one of
the things that also depends is like the length
of our tiles over here, like longer tiles in real life, of course, you would have
less flexibility in movement. So this is literally
if we made our tiles a tiny bit too long,
then automatically, we would never be
able to properly place this the same way as real life because stuff
is just not working well. And here you can see, kind
of, like, what happens, so we get we get like this stuff where
it is like floating. However, when our tiles
will actually continue, logically speaking, this should be fine because we should be able to not actually
see that floating part because we are going
to cover it up. So if we have this
one, if I now go in and copy this over here, I think that basically
creates our base really well. Okay, finally. So that was the tricky part. So we
are now done with that. So in the next chapter,
what we will do is we will start by doing a lot more placement stuff and start by creating
our additional models.
64. 64 Creating Our Roof Part5: Okay, so let's go
ahead and get started. First of all, with
our placement. So one thing that's
already good is that we have the space here
on the side because that leaves us space to later on create this structure over
here. So that's something. But first of all, what I want to do is I
want to go ahead and just create something
like we have over here. Now, doing that, the only thing that's
a little bit tricky, of course, we kind of
need to make sure that we do end at, like,
the right level. So let's start with
just one, two, one. Okay, so you can also kind of like the
site at this point, if you want to go in and
merge things together, or you can group them together. So there's multiple ways
that we can do this. One of them is where we select
it and we just copy it. But then whenever we need
to do a re selection, it will take a long time. Another one is that we can go to group and we can
group this together. And now whenever we select it, we are selecting
the entire group, and whenever we duplicate
it, it becomes a group. You can also save
your selection up here and you can also
link stuff together. So there's many ways. But in our case, what I'm going to do is I'm
going to actually, 1 second. Let me just select this one, group and just ungroup it. And then I'm going to
select these side, we are now just going to
create a module piece, but selection is a bit tricky. There we go. So we got this one. You can do an Alt x, and then
I can see when I do Alt x that I need to push this a little bit more
on the outside. Over here. I'm just going to go ahead
and I'm going to group it because I want to deselect it because
something feels a little bit felt like it was
not in the center. But okay, without the selection, it does feel like
it's in center. So we have one end piece. And then I'm just basically deciding how many times
you want to copy is. Oops. So let's see. This is one. Next, if we just
do dX, hold Shift. One. Let's see, two. Okay. I'll click on
it and Alt X again. So now we have three of them, but we do need like an end. So what I will do
is I will do one more roughly around here, Alt x, and just make sure
that it's fairly similar. And then for this
one, I'm going to go to group ungroup it, and I'm going to delete the end. And the reason for this
is because, of course, we already have an end
here, so we just need to be able to duplicate it
over and over again. Now, at this point, if we just go ahead
and let's say, turn off the rooftop so that we only have
the rooftop tiles. And if I go in and I
don't know, this one, I will probably leave it as
a separate modular piece, just to add some additional
flexibility and not make it attached to
this piece because it's a bit of annoying else. Especially with, like,
the ends and stuff. So I'm just going to go
ahead and select this piece. Now I'm going to
just temporarily, let's just duplicate
it and just go ahead and just select stuff, ungroup it, select one, and just make it one solid mesh like this because this one is just like for
testing purposes. So I can just make
it one solid mesh, and it will complain for a bit because it's really hypole. I can just re art my weighted
normals. There we go. And now if I just turn
on my rooftop again, now I can basically decide, so let's have a look. And if we're lucky, it will already properly, wait, let me just
do this with on. If we're lucky, it will already be close enough to the end that we can slightly
manipulate it. We are unlucky, unfortunately, where it is not
close to the end. So this is the thing. I want to keep it modular. However, I cannot just, like, make only two modular
because if I do only two, then of course, it will you will not have
enough variation in here. You can see that now
over here, like, things are looking
really, really cool already and
stuff like that. Like we definitely get here this really nice
Japanese feel to it. I'm just thinking, if
I probably go one less and then do a tiny bit of scaling that should
probably work better. Knowing that, we can go ahead
and we can delete this. We need to go these
ones need to go. Because I didn't group them, I need to select them by hand. And it's very important
to define this now. If you don't do
this now, you will have a lot of rework that
you need to do later on. So that's why I'm just
spending my time here. You can skip through
this video if you want, if you're not interested
in just seeing it. But I think something like
this will work better. So if we just go turn
off rooftop again, and we have to double check,
so I have this piece. I can go ahead and duplicate it. I can go ahead and
just, like, isolate it. Just quickly ungroup it. And I'm just going
to select one. And the reason I just
like to make it as one mesh is just because
it handles a lot easier. If I group it and
I forget that I grouped it and I
accidentally ungroup it, it's just like a pain. So I'm just going to go
ahead and place this here. And also, we have a
little bit of, like, that we can play around
with stuff on this end. So if there's a tiny change,
we do not have to scale it. So if I go over here. Okay, so this is worse. Yes, this is actually way
worse now that I think of it. Um, that is tricky, people. I think I'm going to
then, in that case, actually make it a
little bit larger. It might then just be good
for me to add two of them. So I have this one over here. Oh, that's
unfortunate. I'm going to select this and group
it just to make it easier. We basically need to get to a point where it
is close enough. That's basically our point
that we want to get. So I'm going to group this. It's moved out of the way. So let's say two, one, two, because we removed one, so now we have one
additional group. Over here. And yeah,
you know what? This one, I will also go ahead
and just group this end. Then maybe for now, I will go in and just, like, not merge it together just because I do have feeling
like it's slightly faster. So if I now have this one, and I can go Alt x, and I just move this
over roughly over here and copy it again. Yeah, so this would
be like one piece. Um, I will have to
make two variations. I just cannot get it to work. I will make one long variation
and one short variation. So see and this is why it's annoying that now this is why
I was merging it together. So what I need to do is if I need some space over
here, let's have a look. So first of all, we
have this piece. Let's go ahead and ungroup it. So we are going to make
two variations now. That means a little
bit more UV space that we will have spilled. Although we could probably do this in our we could probably, like, reuse our UVs. Like if we just make one piece, and then just, like, cut
out a shape from it, so we have, for
example, four rows, and then we cut out two of them, those could use the same UVs. So I'm not too
worried about that. We are only going to construct
this building when we actually have done all of our UVs and all
that kind of stuff. So for now, we have this one
just for testing purposes. Move it back. And now I just need to use it
to see how much so we want to make one variation
that is basically tree. Yes. Okay, so that is something that we
need to keep in mind. So this one I will move here
just as like a reminder. So we are going to have
this piece over here. This is going to be one
of our main pieces, just this entire thing. So we are going to add
variations to this. And then we are going
to later on cut out this piece from this piece. Just to make it easier
for you to understand this and these pieces are
going to be in our UVs. This piece will only
come at the very end. So we have now this corner.
So we have these pieces. I will do a variation a part that I will just
time laps later on. So for now, I'm just going
to go ahead and I'm going to move one additional
piece here. With these pieces, what we
can do is I will because, of course, the length,
it's a little bit tricky. These pieces, I'm going
to just leave them like this where it's overshooting because later on when
we duplicate it, we should be able to
compensate with that. This is going to be one piece. This is going to be one piece. This one is just going to
be one of those end pieces, for now it's just
for measurements. The next thing that we need
to do is we need to create our actual endpiece
over here and we are also going
to use that one. If I have a look
for my end piece, I basically want
to Use my tiles. Oh, God, this is no this is
going to be an annoying one. I have a feeling. So we
have our tile piece. It's through Snap rotate. And basically, so
I need this one, and I also already
need sent on my pivot. I also already need this one
to be placed on top of it. And this one is
being placed just beyond the tile point,
something like this. And I'm just moving it until there's no kind
of clipping going on. So see something like
this is a nice distance. And then also on this side, d x, just here we go. Okay. So we got this
little tiny cluster. Let's move it here and
then just duplicate it. And let's see if this
even fits because that's the thing like it
all does need to fit. And it looks like
that our tiles are stopping just before
we have our big tiles. So we might need to
alter this a little bit. So if we go in here and rotate
this and kind of, like, try to make it go with
the rotation of our roof, our tiles are going to stop
just before over here. But then the round tiles, they need to continue on. So I'm going to actually
push this forward, and I'm going to
go ahead and just, like, create another one. And this one I will
just let's see. Let's move it up. This
one goes below it. These ones, I want
to let's do a local. I want to rotate them. Let's turn off snap rotation. I then want to go in and
move them up a little bit. Okay, and there will
be an end here. The same end that we are
going to create over here like this end piece
is going to be here, which means that I
might want to go and push this a little bit further back to give space for that. Okay. I think that works. Just having a look
at my reference. So it looks like
that at the top. It ends with one tile. So the top ends just having one tile going inside of here. So if we just make that
as a starting point, he's just go ahead
and move this. Okay, so that's like
our starting point. Having one tile there. Then we have these
pieces. Oh, save my sea because I felt like
something was crashing with. If I don't select these ones, that should be good to go. Now if we go in,
and for this one, I cannot really just like, do an easy copy. I need
to basically go in. And every time I copy, I need to make sure to
not set this to local. I need to kind of,
like, just go in and try to make it align. I also want to make
sure that over here, like, oh, it's
definitely not floating. It's actually clipping.
Clipping for this one. I can probably live with it because we are going to
hide some of that stuff. However, do, of course, try to avoid it as
much as possible. Yeah, like over here, there is just going to
be some clipping. But I can probably
live with that. And I can just hide it so
that should not be a problem. Let's go to the
next one over here. And it's really
difficult to also see which rotation exactly
I need to create. Next one. But luckily, we only have to do this
once, and then it's done. And then we can just reuse
this over and over again. And reusing it is
going to be easy because then it's already
placed into position. Let's go a little bit up
and rotate it a bit more. I mostly want to try and avoid seeing any clipping on the top, because that's the pieces
that we will see the most. Okay. And then at the end, there comes a point
where we are going to have one that is like angled. I think we need to go one more. No, wait. Yeah, one more
tiles would be fine. But then at this point, we need to have an angled version. So let's turn this one into
like an angled version. So we basically have one version that goes kind
of like that's annoying. Let's set this to local rotation
so that I can rotate it. We have one version
that kind of just goes in here and push it once again, local, push it up. And I need, that's why I
don't like grouping stuff. I need to group, let's do ungrouped temporarily. I need like two of these. Let's set this back to view. But of course, they are
a little bit warped, but that should be fine. So I need two of these. And then I just need to try and, like, make everything fit
with this corner one. Let's go in and
set this to Local, push this out. Put this in. And, there's only so
much that we can do. So most of it is, like, it's pretty much
just laying on top. Like, it's not really
here to do stuff, and I will just try and see. If I can improve that over here, what you can see,
it looks like that. Oh, no, no. Here, well, it feels like they do they did make this
piece slightly unique. But, yeah, you do definitely
see these kind of bits. I don't know if maybe
deleting this and no, it probably wouldn't look
better if I deleted that. I'm going to move this down and up a little bit so that
it fits a bit better. And then maybe this
one, I'm going to actually make it sets to local. I want to make this one
kind of like overtake that shape in the base that
it reads a bit better. So basically, I'm moving
the shape on top of the other shape so
that from a distance, see, it just looks like
the tiles are just, like, nicely going
into it there. And yeah, over here, I think that this one is fine
to just have that there. If it becomes a problem, we
can always fix it later on. The only thing that now I think
is that I'm not sure if I like I'm not sure if I like it. I feel like the back
is just like Wi tick. And I'm not sure if I
can just kind of like compensate that by Well, most likely, what I actually
want to do is I want to probably grab a FFD box. I'm just thinking
if I could, like that's weird that
the scaling happens. Yeah, that's scale only
on the Z and the Y axis. I wonder if moving it here, maybe, like, pushing
it in a little bit. Um, I'm not sure. I do feel like that over here, like, there are a lot more. Although, no, no, actually, no, you do definitely see, like, a lot more empty space. So that's just me
thinking of stuff. But I do have the urge to, like, add some very
slight changes to these, and it's kind of like
up to us to, of course, decide, oh, Sorry about that. So notification. It's up to us, we can make small changes like this if it works for
the better by just, for example, having this FFD especially because these
are going to be unique. So I can just go in and then paste these because I just feel like they
are way to tick. This is just some creative
or artistic add ons. At this point, what
I'm going to do is, let's go ahead and
just because I want to see what this looks like. I'm going to go ahead and
just like temporarily, and I'm just going to merge this together just because I
don't really care for it. Just going to duplicate this. And I just kind of want to
see what this looks like. I'm going to do all of this, so do make sure
that you don't put too many functions
whenever you do this because I'm just
going to press Contra Z. Okay. Yeah, I think when we
have everything in context and it's like
a much larger hoof, I think it does
read a lot better. So that is working fine for, like, this end over here. And then later on when
we do the corners, we are going to do that
slightly different. Okay. I'm still not
sure about this one, but I think removing it
is worse than having it. So, we might want to go ahead and improve
that a little bit later. For now, let's go at an
Undo, as I said before. There we go. So now it's just like Undot and now we are back to normal. I'm going to save my scene. I'm going to have look,
so we now have our tiles. We have our modular
pieces over here. So in the next chapter,
we are going to start working on these modular
top pieces over here. So let's go ahead and continue with that in our next chapter.
65. 65 Creating Our Roof Part6: Okay, so let's go
ahead and continue. Now, I'm going to
get started by just creating this piece,
which is quite easy, but we are going to create
a little piece over here, which we can then also
place at the bottom. And then this stuff, it's
mostly just like stacking modular assets on top of each
other. And that's about it. So I'm just going
to serve a look. Let's navigate to, yeah, that piece we were
also using here. You can see that this one over here looks a little
bit different, so it just kind of depends
which one you want to use. But for now, let's get
started with this. So I feel like that this piece, we might be able
to combine it with the back piece and just make it like one large modular asset, which means that yeah,
it would be over here, but it's always a
bit tricky, like, how are we going to
exactly place this one? So I think this is
probably a right height. So if we go for this
distance over here, and then it would make here, I'm just going to move
this probably up here. I didn't know. It's tricky. I was just having to
think about, like, how would I move this? Because like over here, it would need to slot
into each other. But basically, we need to have these panels sitting on the exact same angle
as these ones. And that's the tricky
thing about this. Let's get started by just
grabbing one of our top pieces. Needs to stay modular. We have some flexibility because unlike real modular assets
which we use in the engine, these assets, they
will end up being at one specific piece. However, we are going to
create modular assets that we'll use for
the other roofs. But for this specific roof, what we can do is
we can just like place it all together into one place and then just export
it as one massive asset. But for now, let's go ahead
and get started with this. So this one, I want to move it down to a point where
it's not really clipping. It's fine to have clipping up here because we
are going to have so much stuff sitting on top of it that you
cannot really see it. So let's say that we have
something like this. Like that feels pretty nice. And let's say that we just
have this back panel, and worst case, we just
add an additional one. Let's just do that.
Like, worst case, we have one extra one
that we want to add. For now, just having
these panels. And have them overlapping on top of the ones that
we already created. Should be fine. Over here. Now, if we go ahead and can I maybe just use one
of these panels, and if I go to rotation, no, the rotations are reset, then it's easier to
just grab one of these. So next up is we have this one, and it feels like we only
really have one this time. Where are you? There you are. So let's just move one of them, and it's moved just
before the end. So, of course, move in
the right location. I know that there's a
little bit of clipping, and that's the tricky
thing about this one is that do we accept
that clipping or not? I feel like if I
move this over here, I want to select these few, move them up a little
bit. That's fine. Okay, so we have this one. Then the next thing that
we need is we need to create a little piece
in front of it. I'm going to make this piece a lot more simplified,
to be honest. At this point, I don't really
want to spend too much time on it because if we
look at the reference, you can go really complicated but different
figurines and stuff like that. I'm going to probably
reuse some of these elements that
I have on here and just throw those in and
just call it today. Do I have, by any chance, a do we want to go for
something like that, or do we want to go so let's
go a little bit simpler. Let's go for this shape and then we'll take
it from there. For this, I'm going to go to
my side view most likely. And I'm going front view, sorry. I will probably just
follow the guide, which is our tile, but then just push
it further down over here and still try to, like, nicely rotate it. Okay. Now let's go in here and let's quickly
grab this sweep copy. On no way, sorry,
we don't need to sweep because this
is a closed spine, so we just need to
use an extrude. 2 centimeters stick
seems about fine. So let's go for like 2
centimeters thick over here. Like, at this point, action
as is always a bit messy. But what I want to do is I just want to go ahead and I
want to have a look. I go to my line. Let's
see. How does that look? I want to give it a little. Yeah. I need to rotate
it a little bit. Maybe push this one
a bit further out. I it's fine to not have it
absolutely perfectly aligned. But I want to ty and get it somewhat skilled in a
little bit, somewhat even. And then, of course,
from the bottom side, we need to make
sure that that also feels like, nice and consistent. I think we can get away with something like this. Okay, cool. So we have this piece over here. The interpolation is looking,
that's looking fine. So I can now go ahead and
I can add and addi pool, and I'm going to get started by just doing a simple inset. And I want to push
it in a little bit more So 0.6 plus okay. Now over here, we just need
to clean some stuff up. I'm just going to use a target
weld because I don't want to move that original inset. So then target welding
is often better. And then what I can do is I can go ahead and I can push this in. So we got that one now on
the corners. Oh, wait. Actually, over here,
I can actually see this that might look
nicer if we do that. So I'm going to probably
add a cut. Let's see. One, two, three, four, five, six, seven, eight, nine, maybe. One, two, three, four, five, six, seven, eight, nine, one, two, three, 456789. There we go. Just do
this. Bit easier. Move it in, have a look
around. Yeah, that looks nice. And then what I want to
do is I want to create some quite heavy
bevels on these edges. And for this one, because it's going to be the same
as like this one, it's something that
we are also going to later on U VN
rep and everything. All right. I was
moving the wong one. But for now, let's just go ahead and do something like this. Okay. We have these
shapes over here. So what I can do is if I go to my backup version, actually, let's first of all, finalize this version just
to prepare it for Zebrah and we can do that by basically placing
some cuts here. The backside, I'm going to delete and then
bridge it together. I'll show you that in a bit. And I will go ahead
and over here, I can just do this, delete. Select bridge. And also, actually,
you know what? Over here, I should be
able to do the same thing. I was just taking the
slow way for some reason. Okay. And then over here, once again, just delete, select and bridge
it together. Okay. Nice. Now I'm going to just
add some supporting loops. And yeah, I probably do
want to add some bevels, actually, because supporting
loops often is fine, but adding a bevel on
top of a sporting loop, it will give you that
extra smooth look, which you often get with, like, really old worn down metal. And over here, you can see how, like, it's really
soft, the edges. So it's like just an extra to
make your edges extra soft. And add additional spots. Over here, we can see that we have these spot loops,
we are able to art. But then these ones over
here we are not able to art. Just like a quick
trick that you can use is if we just go ahead and select set angle hi
select these out of sides. You can save some time by
just doing a simple inset on them like this. And once you've done the inset, you do need to make a
connection over here, just to connect the corners. Because else the
inset will break, but this will basically
take care of the corners. We were just lucky that
we had those edges there. L over here, it will also
just take care of the edges. So if we now go ahead
and just add like a turbo smooth and just double check to make sure that everything
looks correct. Yeah, nice and smooth shape. Okay, cool. So we
got that one done. Now the next one
is going to be a, the shapes inside of here. And for that, what I will
do is at this point, I will move it over here. Because I like to always keep this togeto so that we
know which pieces to have. If you are not used to keeping
track of a lot of models, which can be totally
fine in the beginning, like many beginning artists they have trouble
keeping track of things. What you can always do is you can always just
make a list, like, wide it down very simple
and then do it that way. I'm going to go
ahead and I'm going to grab these two shapes
over here and I'm going to set them to view
and move these in here. I'm just going to move
those to the roof tiles so that I can turn it off. Let's get started
by just grabbing these spheres and just placing them pretty
much all around. Just go to move
this to the side. Maybe make this a
bit smaller this time and just push it in. Just create some details. They don't have to be the
most amazing details. I'm just going to go ahead
and go in here and then place another one here.
Select these three. Want to rotate it on the
view because else we cannot rotate it properly,
place them here. And then often just like
the classical technique is, if you cannot just do
simple array is to just move it make sure it's
still in the boundaries. Yes. Just move it in center and then just
keep splitting it up. So we are moving
it in the center. Then we are moving
it on both sides. And I guess you can also
just select both of them and rotate it like that. And then let's say one
more rotation here and And here, and here. There we go. Just like
scatter it around nicely to give it something. And then if you want, you can also add some of these pieces. And I don't know yet, like the best way to add it. I'm just going to have a loop. So if I start with, let's see, I would need to
probably place it like this in order to do
any type of looping. So let's say that I Oh,
it's out of saving. Give the second. There we go. Let's say that I move
this one in here. I have this one, and then I basically just grab another
one and I just mirror it. And loop this one in here. I don't think I can make
it loop again in here, but I don't think, I
can't really do this. But let's say that
I have this one, maybe I can simply
place these around. And that already adds enough visual interest. I
think it does, actually. Like it's a simpler
version of it, but this is just like
an add on asset. Let me just move this
forward a little bit. But I think that this is more than enough for what we need. And often just repeating the same design is
often quite nice. There we go here, see? So
that's looking pretty good. I can now go ahead and
I can just in here, make sure that isolate
displays turned off. I can select all of these. Do I have them? Yeah. And I
can go ahead and export it. Um, two Z, and this one
will be rooftop tiles 02. And if I say 02, I
want to make sure. So yeah, that's the only one we need to
sculpt because all of these details we can simply
do a hypol inside of unreal. This one, we can
even literally use our metal detail that we
have already created. So that's quite an easy one. And is just like rooftop tiles. So if we go in and, yeah, 02, export it as a Z brush
file export. Here we go. I will just go ahead and I will kick in a quick time laps where I go through the process of turning this into a
final UVT asset just because it is the exact same thing as
that we've done before. So let's go ahead and
kick in the time laps.
66. 66 Creating Our Roof Part7: Okay, so let's go
ahead and continue. So as you can see
in the time laps, I already went ahead and
just placed it on the sides, and it is looking pretty good. I'm glad that I added
this additional detail. So now what we're
going to do is just create this really
bulky thing over here. For this, it looks like that we have some flat looking tiles, and then also some tiles that have a little
detail on top. So let's start with that. I'm going to 1 second, just navigating to the
correct reference. Let's start with the
very easy tiles, which looks like they are
literally just like flat on the bottom with like a
little angling on the top, and there are two
variations of it. So if we just go ahead
and create a box, and I guess I want to
make it probably like one piece plus like tiles
long, something like this. Yeah, it looks like
a decent size. At your faces. So
let's have a look. So these ones are placed
pretty much here. I'm just having a
look on my reference. They are technically,
they are about this long. So this is actually
looking good. You can always push
it in and then just, like, move it a bit so that
it is in the right location. Okay. So of course, these type of tiles, right now, we don't really have
anything on the other side. So what I would want to do is I would want to place
this into the center. And then already, measure
it out for this side. But because we are going to use these things also here on this, whatever it is, I don't
even know trim detail. On this additional trim detail, we actually want to make
both sides already. And that trim detail also shows us how round everything is. So let's convert this to
an apoli like this side, and this one is going to end up probably this far over here, and then it will be
also the opposite. I'm going to move this down, so look at the distance. Always make sure that we not
only look at it up close, also look at it for like a distance that
we kind of, like, can see in context
what this looks like. And I think something
like this works well. Okay, so we got this one. Now, what we're going
to do is we are basically going to grab
this end over here. Don't know why
it's at the local. And we are going to go
ahead and just push this up probably up until like yeah, probably
up until this point. And this one, I don't know, should we push it up also. But then I think I'm just
going to leave it straight. But if I leave it
straight, I would need to place something on
the end to kind of, like, close this thing off. However, yeah. Okay,
I will do that. I will push it up, and there is something that we do need to create the ends, but most likely I will just use this one over here and
place that on the end. So we are basically re using. So this one let's push it up, which means that it will
be floating a little bit. And now what we can do
over here is we can hold Shift. Ah, that's too bad. Often, when you hold
Shift, it will push out, but it looks like in this case, it is not able to register. So instead, what I'm
going to do is I'm going to push it out
quite far like this. Then I'm going to
select everything, and then I'm going to use a HAVA with multiple connections. And then when you
push the chamfer in, it will kind of
push it in again. Yes, let's do this. But then on the inside, I probably want to
do this, actually. Yeah, that makes more sense. Let's do this, see, because now it just
bends on both sides. So we got this one, this end one over here I can
kind of get rid of. And now at this point, you can just go ahead and you
can do a symmetry modifier. And then I can see
that over here, it should not look like a wing. So I'm going to
go ahead and see. Let's turn off my symmetry. Actually, know what, we
can turn on my symmetry. But let's go to our
side view over here. And let's just carefully push these up so that
they become round. 1 second. It's outer
saving. There we go. And you kind of
want to make sure that this one is
correct because we are going to reuse this
one a couple of times. So I do feel like something
feels a little bit off. And I don't know
if it's the fact that this one needs kind of be a little bit more angled.
Or if it's not. If you are not sure, what you can always do is you
can always go ahead and just create a quick line and
move the line from here to here and make the line the
bend that you want it to have. So let's say that I want
my bend to be like this. Now that I have this
line, I can simply go in my Adiple and I can simply push these pieces
down to be on the line, and that will automatically
make our bend look correct. Yeah, I want to just be a
little bit more precise for this one than I initially
expected to be. But there we go. Now
we have this bend. And if you want,
we can also grab this line and just move it down. Let's move it down here. And then we can replicate this bend because I think most of the problems
that we see, it's because I'm looking
at the entire shape, even though the bottom is
hidden most of the time. It throws off my perspective. So I want to make
sure that, of course, the thickness kind of
stays fairly similar. Like this. There we go. That feels a lot better. Okay, so we got that one done. Just get rid of that line
that we have over here. And this one should be as simple as just giving
it some bevels. Yes, looks like it is. So I'm just going to add
the chamfer segments of zero and just move this in something like here
and weight normals. Okay. So we got this one. Now, if you go to our side view, we kind of want to
make sure that we push it up until this point. And then I'm just
going to hold Shift. And duplicate it a
couple of times. There we go. And once again, so this is probably
going to be the end. We can scale it up and down a little bit, but I'm
going to probably, like, end everything over
here along with these ones, and we will just, like, place it properly into place later on and create like
one entire chunk, which is, like,
perfectly tilable. For now, however,
let's have a look. Um, we have a thinner version
that is sitting on top, and in between that we
have, these shapes. So we can kind of,
like, do that. So first of all, let's just copy these and move them here. Next, I'm going
to do an FFD box, just make it two by two by two. And let's have a look
at it. If we can maybe, like, manipulate
this to push it. Oh, sorry, no, we need
three by three by three. And then I'm just going
to push this like, let's say, three back, two. Let's try two to get. I'm just looking at these lines. So, you can see that I can
kind of, like, push this back. Mmm. I'm afraid that this
is not going to work. I'm afraid we have to, we
have to create a new piece. For new piece, we can
basically just like, use a line this time to follow, and it needs to end here. And just make this line bend as close as you
can to like this bend. Just go in and just
select the edges and do like a Bazier corner
and just do whatever you need to do to make this Really close the bend. Okay. And for this one, we can just go ahead and we can use
a sweet modifier. And I guess this technique would have been
better if we used this technique for
also the original one. But it's okay. Is that enough? I feel like
there's a lot more space. But then again, I just
want to check over here. Here it doesn't feel like
there's a lot more space. That's why it's good
that we actually have these two perspectives because then we can see
what we need to do. I'm actually going
to keep it this way. And then later on, I'm going to place these circles in here
just a little bit closer. We have this one. Let's just
go ahead and art and add a pool oh, wait, sorry. Before I do that,
make sure that in your sweep, we set
the thickness. So let's say round two
for the thickness. Then I want to quickly go back in here because
it looks like the line is not properly scaled, so I'm just going
to go in here and just make sure that it's
there we go, correct. Because we are also going
to give this one a bevel, just push it out a bit more. You can go to your side
view to make sure. It's going to scale this flat also because for some reason, my side view was not
completely flat. Same over here, just like scale
it flat to make sure that your side is pretty much flat and then
something like this. Okay. Copy the JEFA from the one below and
just paste it in here. Wait normal. So we
got this one now. We can once again go here. And duplicate it
a bunch of times. So now we have the
thinner slab ready to go. Now in this slab, what I'm going to
do is I'm going to have the circles in between, and then we will have this bit. At this point, we need to decide how big we are
going to make it. I'm going to steal
this one here. Technically, they are different, but I'm just going
to use this one because they're so similar. What was that sound? Okay, there was a weird sound
on my computer. I don't know if you heard it. See, I'm going to use this one. Just going to go ahead
and copy it over. And what I will do is I will
make a cylinder around it. So let's grab this. Now, let's grab a cylinder
and just select it in the center and just make this like around so that
we can make a nice shape. Let's set the sides
to, like, 32. Like, we want to make this quite nice and get rid of any
segments that we have the font, place this nicely at the back. Push this one in to decide on probably let's make it a little bit thicker,
something like this. And then we want to go
ahead and we want to inset this and carefully inset it
just above our flower stuff. Like this. And then
we can delete it. We can select these two borders
and we can press bridge. So we are now bridging it. But what I want to do is
it will probably look more logical if I
now push this out. And this stuff
over here, if I go ahead and then extrude this in, you can delete it and
you can just do border select and you can
press collapse. I'm going to start with this border slab select
collapse and this one collapse. And then we can get
rid of this line. Next, we can also get rid
of this one. So let's see. So now we have like that you
cannot see through the back. At this point, we
can probably just go ahead and add a
quick chamfer on it. And weight normals. And let's see what it looks
like from a distance. So if I just make this
a little bit smaller, Yeah, see here, that reads
quite nicely. Okay, cool. So we have these two pieces. Now it is a matter of deciding, first of all, like our position, which is going to be
somewhere along here. And then we need to decide
how big they are going to be. So you can see that over here, they are quite small, so they are probably
like half the size of one of these.
If I go in here. I want to probably make
it a little bit bigger. There we go. It's also good for us to make
everything just slightly bigger just because from a
distance in our context, it will read a bit better
because, of course, if we're looking at
it from here, else it will be a little
bit too small. So in games, they often
make stuff a tiny bit bigger just to avoid like well, we just call it noise
to avoid the noise. I'm going to create a line on this side over here and
also on the other side, and I'm basically using
this just to measure stuff. And when I look at
it in context now, I feel like it does need to
be a little bit smaller. There we go. And we are going to create also something
that will be behind it. So first of all, for
now, move it over here. The site on our final thickness, which is going to be
something like this. And we also want to have this
later on on the other side. Yeah, we should be
able to keep that in our UVs because these
UVs are super simple. So first of all,
what I'm going to do is I'm going to get rid of. This end here, let's
convert too pool. And that is just
because you cannot see it because we're
going to hide it. And I want to save my UV
space because we are going to use this one a lot and then just already give
it like a quick UV. Iron, relax, and just do,
like, a quick checker. Yeah, that's honestly, that's
fine. For what I need. Apply our default
material again. So, now it's just a matter of grabbing this one,
moving it here. And I'm going to
start with like 25. Oh, even 25 was not enough. Let's go ahead and
move it once more. And like another
four, I think, three. Perfect. And it also
actually fits really nicely, almost perfect. You know what? I would say that, this
is pretty much perfect. I'm going to move this one over here because it looks like that I made a very small mistake in just the placement of these. There we go. And then for this one, what I'm going to do is I'm going to grab the last few, and I'm going to add an FFD
box by two by two or two. I'm just moving it like
a tiny bit like this. So you will never really be
able to notice that there is, like, any type of
scaling going on. That's why I'm not doing it over the entire any because I want to keep as many as possible,
like, nice and round. Now we have this one. We would then go ahead
and we would copy it. This is where I'm thinking like, I probably want to reuse my UV space for this one
because now I look at it, it's so much and we will we won't have it a lot and we are also going to
use it over here. It's probably best if we reuse the UV space for these pieces
and for these pieces here. So knowing that for now,
I can already place it, but I'm just going
to, let's just isolate it and just attach it. When it's one model, I
know just from memory that this is the one that I
can use. It looks like that. It will take a
while because like 1 million polygons
to the attach. And here I can just
count one, two, three, four, five, and I can go here. Oh, I cannot do that. Then I just need to eyeball it. Something like this,
if I eyeball it a bit. Okay. So we will have some stuff that's
also sitting behind it. First of all, we're
going to go ahead and we are going to grab Oops. Come on. These pieces. And these will sit
above it, like this. Because if I have a look, yeah, that looks logical if we
just have that above it. Okay, so we got
those pieces done. Now on the inside, I'm probably going to
here, use one of these. Let's just go ahead
and actually, sorry, let's undo that. Let's grab this one, and let's just get rid of the chamFA and
all that stuff, so delete. This one is going to
be on the inside, and all I need to do is I need to move this one edge a little bit and move this one
edge a little bit, and then also this one
just to compensate for the shape change like this. Then I'm going to go ahead
and delete this side, this side and then
just press element select and just
delete these pieces. Now you can just go ahead
and you can do a Caple on the ends and we can just use
this one all the way across. Up until the very end,
which is going to be here. Let's scale this flat
here and also here. And if we just go
to our front view, we want to go ahead and
we want to move this up. So it's just going to
be like just something to block our view like this. This one most likely
doesn't even need chamfers because it is not here to be seen only from
the side, it's here. So we got this one. Now the next shape
that we want to go ahead and create oh, sorry, my microphone
was a bit too loud. The next shape that we
are going to go ahead and create is going to be
this one over here for which we basically
only need to create one shape and then use that
shape over and over again. And then place at the top. So it looks it doesn't. It looks almost like
a half a cylinder that has been extruded
in the center. So if I just go ahead and go
to the top view over here, I can literally do that, well,
the way that I set it too. So we will grab half
a cylinder over here. Like this. You want to make
sure that you have a line exactly in the center, which we have, so I can
convert this to an added poly. I can go ahead and
remove this here. And then basically
just grab one side and just hold Shift and
then extrude this out. And you can just
go ahead and you can I do like an angle
select or something. And delete these ends because we are not
focused on those. So now, basically, this is what that shape looked like to me. And also a cool twig. This is one that is
specific to three max. So you can just extrude
this out to create a shell, or you can press the
shell modifier and it will very quickly turn
any plane into a shell. So I just wanted
to show you that. I'm going to place
this one probably on roughly the same
level over here. With this one, to
save polygon count, we can literally just move this across and also to save
our UV space pretty much. If we just move this across over here, that should do the trick. We got this one. I'm going to probably create
a small structure, so that will be one, two, and then based on that, I can already see that I
need to make it ticker. So let's go into my
shell. Let's make it 0.5. Let's get rid of this one.
Yeah, 0.5 looks a bit better. And then later on I'm going to, of course, figure
out the scaling. But for now, let's do 0.5, so one, two, rotate 180. Center it just above it. One, two, and then it's
basically the same thing again. No, wait, sorry,
not the same thing. It's kind of inverted. Now it is like here. So you have these ones. And then it looks like you
grab these ones, and those are at the top. There we go. So this
is like the shape. Okay, so now knowing that, I can go ahead and I can
look at it from a distance. You know what? This is
actually pretty good scaling. If I read it from a distance, let's turn over edge and faces. Yeah, I can actually
live with that. Uh, yeah. I feel like this is
actually a correct scaling. Nice. So that saves
us some time. So we got this one. What we can do is
we can go ahead and let's add a
quick chmF to this. And await normals and just make sure that
this looks hipolynough. Yeah, you know what? I cannot really add any more polygons. I think, I think it's fine. I'm just going to go
ahead and copy this, and I just want to go in and select all of the other ones because I already placed them. Why would I redo it?
Just add an added pool, and you only do the added pool to basically have an option to paste and then just paste all of this stuff
together over here. So we got this one done. Now, in here, this one's going to be a little
bit more interesting. So basically, I want to probably go up until this point
and create a cut here, and then these two can go away. These ones we can
have a connect here, and we can delete half of it. These ones, we can also
have a Adipol connect here, maybe move like a tiny bit, and then just delete half it select my line and just move it up so
that I can that's perfect. We got that one done. Then you would say that we can probably just go in and do
the same thing over here. Let's see over this point. Yeah, we can pretty
much do the same thing. So if we just select
these to place a connect. Sometimes whenever you ddt ply, you need to select
to connect here. If you have it if you have an added poly on multiple
objects at the same time, you will need to
use the options on the right hand side because the options on the top
kind of disappear. But if I now go
ahead and do this, I want to make sure
that I just select these lines and just make
them absolutely flat. Oh. Oh, it's because I'm sitting into local.
Just go to view. One sec, it's out to saving and place it nicely
on this line. Here also scale flat,
nicely on this line. Quickly go in here,
do the same thing, scale flat, place it nicely
on the line and over here. And then it's just a
matter of copying this. We got this one done over here. Now, if you want, you can even, I will just like I will move this over here and just throw
this into my backup folder. While we are having a
lot of meshes by now, it takes a while to
go all the way down. Backup. Then for this one, I'm just going to go ahead
and convert to added ply. I'm going to attach all of
those shapes that we have. Here we go. Delete this line, hold shift, move this and place it
super close together, and then just go ahead and add a bunch of copies until
we reach the end. Unfortunately, that
was not enough. One, two, three, There we go. Okay, so this end needs to
reach this point over here. With this one, I can
probably get away with just doing an FFD by two by two by two and pushing this back
a little bit like this. You will never really notice
that on such a large shape. And then just add
a weight normals on top just to finalize things. Okay, so we got these. Now, don't forget that
we are going to just still close off the center by placing another
one of these pieces. And we can also go ahead
and actually go in here. This one. Yeah, this one needs
to be placed here, and then we have the top tiles. So I'm going to place
this one up here. There we go. I'm going to grab this shape and
just move it up. That blocks that view over here. I feel like maybe
pushing this out more. I might want to just go to my sit view, select all of them, and then make sure
to do a center pivot and I want to push them out
a little bit more like this. I feel like that just looks
a bit nicer when it has a little bit more depth. In it. But yeah, I don't think I
want to have it see through. Yeah, C tru just
doesn't feel right. Especially like over here, there is also Wi ending trough. So we got this piece also done. Now the last one is going to be this tile on top over here. And it's pretty much
the same as like the tile at the bottom,
a little bit smaller, and it just has, like, a
little thing sitting on top. So what I'm going to do
is I'm going to grab this tile over here. Move it up. For this style, what I will
do is I will go all the way back to my line and
then just show final. And this one I'm going
to move around here and around maybe a
little bit closer. I'm eye balling it here,
but that should be fine. And next what I'm going to
do is I'm just going to go ahead and I'm going to select these points to kind
of like move them to Make sure that it is nicely following the rotation, which
it does right now. Then once we've done that, I'm going to probably get
rid of my chamfer for now. I'm going to move this one
probably up until this point. This feels nice. And
then what we want to do is we just want to create
a little lip on it. So that means a swift loop, I think roughly around here. Extrude this up and
it looks like it's quite a hefty piece. So
let's extrude this up. Let's go ahead and
bend this a little bit so that it follows
our rotation better. And then you can just
go ahead and select the side and push this out. Like this. Okay. And now what we can do is we can grab
that chamfer and weigh it almost
from the bottom one again and just paste it on here. I think this time the chamfer, I want to have it a little
bit smaller like this. Um, I feel like that I should make this top
a little bit ticker. Like, because you can very clearly see it even
from a large distance. And what I also
feel like is maybe make it see where's the side
view. Here's my side view. Oh, no, wait, no, wait
the thickness is fine. Okay, so we made
it a bit thicker. Let's go to our side
view, and again, make sure that we alter
the angle slightly. And then we can just
turn on those pieces again. That's looking fine. And now if we just go
ahead and just push this here and then add
a bunch of them. And then it's just a
matter of going in here. Adding an FFD and push
those to our end, which is going to be described
as line. Where are you? Line pushes all the way out. And in this case, this one, because it is over
here where it ends, we want to go ahead
and end it sticking out a little bit so that
when we repeat this, it will just repeat properly. Okay, wow. Awesome. So we
now have those pieces done. We are going to later on
also use this piece up here. You can see like a tiny
detail in the center. That's something
that we could maybe do with inside of substance. I'm not really going to
do that as geometry. The last thing that I don't
really like is that right now there is a difference
over here in scaling, well, that's what I do like. So here we can have
this difference, but I probably want to go
ahead and I want to grab this one and change this. So what I will do
is I will delete these select this one and just with my dipoliu I'm just going to
slightly change it. Then I'm going to go in. Let's do it like a center
pivot to make it easier. I'm just going to
push those out again. Here we go. And you guessed
it. Just select all of them. And just art at FD. Then just like there
will be one point where they will all be
perfectly aligned. But that's fine to have it at one point along a large area. But for now, so we got this one. Am I okay with these
ones being so long? Yeah, I guess I'm
okay with that. No, you know what? No, I'm not. I'm going to go ahead
and just delete this, and I'm just going
to use these ones. I think that will look a
little bit nicer. Over here. Then I am okay with these
being long because we have the bottom ones that are also
as long. That's now done. At this point, in
our next chapter, we will hopefully finish
all of the final molding. We got this beefy piece on top. I do notice that there is
a small error over here. I think that's because
here we just need to add another weight normals
to all of these. There we go. Okay, cool. So next chapter, we
will create this end, which we are also going
to use over here. And after that, I believe
that we are done. Then it's just a matter of
UV unwrapping everything, and once we have a UV unwrap, we can already place
it into place, and then later on we will go
ahead and do some texturing. So let's go ahead and continue with this in our next chapter.
67. 67 Creating Our Roof Part8: Okay, so let's go
ahead and continue. Now, one thing that
I noticed right away off camera is that in context, everything is a
little bit too small. Over here, you can see that
this is actually quite large. And we do need to fix it,
because if we don't fix it, then we don't know how big to make this end
piece over here. But that was the last thing that we had to
create the endpiece. So just to fix it, it
can be really easy. Like we have already
made everything modular, so it is not really
that difficult for us to just scale it up and down
or something like that. So we can just go ahead and
we can go in and maybe it might be easier if we just
quickly group this together. Over here. And then this group, I'm going to go ahead
and probably set my PivoPoint somewhere all the way like the
bottom over here. And then it's just a
matter of going in. Oh, 1 second because Pivot points often are in different locations.
There we go. Okay. And now it's just a
matter of going in and kind of, like, deciding how large
we want this to be. And then later on,
of course, yeah, we might need to
compensate it a little bit near the end,
but that's about it. I think, maybe a
little bit larger. And then it's it. Then
that should be it. If I do this and I'm just
pushing this back again, And then also read
it from a distance. Yeah, I think that this is fine. Okay, so let's go ahead and
go for something like this. Now what we were going
to do is oops we were going to go ahead and start
working on the end piece, which is just going to
look something like this. I will try to make
it fairly simple. I am going to reuse some
of these pieces over here. Most likely, what
would be easier is if we just go ahead
and use sebush. Basically place three
of these pieces. We will create some
shapes in between them, and then inside of Cebush we will just go ahead
and smooth that out. Then over here for
this, we will just basically use a line, create a base, create two
extrusions out of it. And now these pieces over here, I wonder if I am able to maybe, like, re oh, God, what happened? Reuse something over here, but I'm not sure I'm able
to do that for this one. Oh, by the way,
over here, I see, like a little bug, so let's
just wait a normal stereo. Um, and else, what we
might want to do is, let's also have a look
at some other pieces. I do want to give it
some visual interest because we are seeing
it quite a lot. Also, by the way, one thing is that I have already decided, and I didn't say that to not
make this run bit over here. Making this would cause a lot of clipping and make it very unlogical and
everything like that. So it's just easier
if we just leave it out because in return, we are adding these details. So I feel like that is enough. Anyway, as I was saying, I'm going to go ahead and yeah, it's probably best if we just go for something like
that. Okay, cool. Let's just recreate
something like this. I'm going to go over here, and I have this piece. These three we can delete. I can go ahead and I
can grab this piece, rotate it and just place this to get started
with in the center. Now it is quite a bit too large. I'm going to scale it down. And we want to move this one up Scale down a little bit more. So it looks like
there's like one here and then there's like two, a bit lower that are
to the side like this. And then basically
now we just need to, like, create the base shapes. Then over here,
roughly in, like, the center up until
just below it. So roughly in the
center, up until, like a Like this part. And then roughly over here, and then we want to
make it go straight. And I'm just going to first
of all, like, fix this. So we have this one Base corner. So let's see, can I make this like quite round or
something like that? Okay. Is it not too large
or do we need to maybe push it out a little bit more and
then rotate this one a bit more just to give it
a bit more roundness, something like that.
Let's have a look. Oh, no, sorry, before I do that, let's just go ahead
isolated because I need to insert and I need to
just connect this, and then we are just
going to use a mirror. Okay. Let's go ahead
and extrude this out. And it would be quite a beefy
piece, something like this. Okay, and then over here, yeah, I would need to
create something. So for now, most likely, what I want to do is
I want to push this up until it hits at
least both of them, and then I would create
something that basically covers this piece.
So we got this one. I'm then going to go
ahead and I'm going to axis and move this until
it's halfway there. So let's have a look. So
what does this look like? It feels a little bit white, like a little bit
long, I would say. Now, what you can
see is that you can also see that
if we go over here, for example, there are some
stuff like sitting below it. It might be nice to maybe
push these up a little bit. And then to create
something Bloat. However, one thing
that I also notice wide away is that it is
going to probably be quite tricky to properly places on the end without
doing some mending. But maybe what we
can do is we can if I just go ahead and this
one is now correct, right? Yeah, the scaling is correct. I just need to make sure that
the position is correct. Let's go up here. So let's say that now the
position is also correct. At this point, I should be able to just go ahead and ungroup it. And then use one of these
tiles and basically use those. Over here. And then this one, because this tile is
clearly floating, we probably want to
go ahead and make it go a little bit down. So I feel like that would
make somewhat sense or maybe, what would be better is if
we literally lower this one, but then again, if we do this, the overshot on here would
not make a lot of sense. I guess maybe one of these would make a little bit more
sense because stairs, it's not holding anything,
and that would not be good. Like, you would need to
have at least something that is holding stuff. So if I go for something
like this and I'm going to push these pieces back,
so they would, like, sit against this end over here, then they would get a 1 second, looking at my reference. They would get like
a piece coming from here to here to here. And then they come down and just make this shape feel
a little bit better. And let's use extrude. Let's see. This one
will probably be pushed back a little bit up
until this point. And then it will end probably, ending it at the end of
this shape should be fine. So we got something like this, and then this shape
that is behind it, what I want to do
is I want to go ahead and I want to extrude this back in a little bit
further, something like this. Next, I'm just
basically over here, making sure that this
one fits correctly. Then over here, this
one doesn't feel like it's around enough. So let's just turn
off our Snap rotate. Okay, something
like that. Let's go ahead and just copy this, make sure to center our pivot and then just do a
quick mirror on it. That should be enough
to just move it over here. Okay, so let's see. So we have a shape like this. Now, around this side, that's another thing that
we need to have a think about about how that fits. So you can see that it's all connected because this is
pretty much like that one side. You can even see that
it's like square. They just added a lot of
other stuff on top of it, which for now, I'm not
going to really focus on. So let's see. I have
this piece over here. I feel like maybe, no, I probably don't do I
want to make this ticker? I guess if I want
to make a ticker, I would need to first of all, push this forward until it
hits the end over here. And then probably
makes more sense if I then align this again, and it will just be like
one large merged mold. I I now go ahead and
just use my extrude over here, push it out. Yeah, so that's a
little bit thicker. That looks a little bit
better when we do that. Okay. Then what I'm going to
do is I'm going to use my added ply and I'm going
to move this one up. Actually, before I
want to do that, I want to actually go to
my line and maybe push my lines down a little bit more then add a
poly move this up, and then we will give
this cheva to bend it along And then I just hope that it doesn't look too
I say too long. But I think that should be fine. And then also when
we use it over here, I think that's an okay shape, what we have right
now, okay thickness. So let's just start with
something like this. Now, we had this one over here that looks like I
just moved it down. And I'm just pushing it forward. Now I can probably
go ahead and just move it back a little
bit more like this. And this is basically
just holding the shape. Then we have this
one. I'm going to go ahead and I'm
going to just fix my symmetry because
I saw some problems over here. This
sometimes happens. You can just go to selection, set the edge to two and
select and control backspace. And then we have this one. I'm going to go
ahead and I'm going to a HEMFRO here. And I'm going to go ahead
and just push this out. Okay, so that also works. And then I think for these ones, I don't feel confident
extruding these pieces out, so I rather just want to
place them around it. So for now, all we need
to do for this piece is, we pretty much just need to add some cheva and then
it should be fine. I think this entire piece nah let's do only the top pieces we probably
need to sculpt. We do need to close off
the bottom of those. Like, right now, what
we have is over here, like we have these
really big gaps, and I kind of just want to,
like, close off that bottom. So that's something that
we also want to work on. To just make it all
like one solid piece that's probably looking
a little bit better. But yeah, like a quarter piece,
I would say for this one. That's something I need
to have a look at. So for now, this one, let's just add hmFer. What I might do is I
might actually make this one like Wi
round like this. So like using actual
geometry to round things. Still see like a slight
problem over here, but I think that's a ah, that's just a normal problem. So, something like that, that
already looks quite good. So that will just be
its own flat color. So most of it is just
going to be textius. And now to just go
in and isolate it. And what we will do is
we will go ahead and go probably up here. Move it in. And then what I'm going
to do is I'm going to go ahead and just place
one additional edge. Now, what it will
do is because we cannot go from one axis to
another axis with the edges. It will place this edge here, and then this one I
can then use to go to, for example, my side view, and I would, for example, go in here and let's say
below or above the chamfer, I will place a quick
connect like this, which allows me to then
exactly in the center. Bring it back up
again, like this. And then it should just be
a matter of using this one to create a sweep. Let's go into edge your pass. Lets see if we can
make this one work without cutting it too much. Just having a check like which UV I can use best to
kind of like cut it out. We might need to just
change this a little bit. But let's start with a width
like this and then a length. Yeah, we might need to
rotate this a little bit, but for the rest, I'm going to go ahead and make
it a little bit thinner. And now let's just add and add a poly. So let's have a look. So of course, these corners, we just need to make sure
that they are rotated, but we are going to
use symmetry on them. So I'm just going to push it
beyond a little bit more. This one over here, what we want to do is we kind
of want to make sure that This is placed here
and kind of like pointing, and this one is also placed
roughly in the center. Here we go. And then the
goal is to basically art a quick chamfer over here with, like, a
couple of segments. There we go. That should
already do the trick. I'm going to push this
one beyond the point a little bit more over here. Now let's see if we
do like a symmetry on the x axis and just
flip it around. So the first one is going to be this one. So it's
going to push in. And then let's go ahead
and center a pivot. And let's go ahead and
do another symmetry. Oh, that one on the axis,
which is already correct. Like this. Okay. And then
if we just do a chamfer? And it looks like that
we do need to Oh, no, wait, actually,
the chenv here did a chef on the edge. So now if you just
do weight normals, maybe snap the largest face, turn off edge and faces. Yeah, I think that
will read fine. So we need two of these,
so we have this one, and I'm just going to
go ahead and move one down roughly over here. And then for this one,
just turn off everything except for your symmetry
or your addi poli I mean. And just kind of like
readjust this to make sure that it's moving correctly. And at that point, we should be able to just turn
everything on again, and it should just work
fine, which it does. So we got those two also done. So I look at it like a distance. Yeah, I would say that
that reads quite well. And yeah, definitely, we
cannot leave this space empty. Like, we need to have
something there. So what I'm going to do is, let's see, which one is
the most forward facing? Like, this one is a
little bit squashed, but I'm just going to see if
there's one that's like Wie forward facing and else I will use that one that we
have been using before. But I can use that to basically that's like a nice little theta
that I can also add. I still need to add stuff here, so I did not forget about that. But let's see. Now, these are all really
intense, so I don't want that. Okay, I guess that's the
best one that we can yeah, I guess that's the best
one that we can use. So for this one, what I'm going to do is, I'm just going to go ahead and
manipulate it a little bit because we also need to make
it all fit in between here. So what you could
do is you could go in and just look at it
from the front view, somewhat like this. It
doesn't have to be perfect. And then just go ahead and
take, like, a screenshot. Now if we go to Photoshop
and then here at Photoshop, I just have a 1024
by 1024 image. I'm basically going
to go ahead and I'm going to move this in here. And then I'm going to go to my reference folder and import. 1 second, just navigating to it and finding that one
reference that we have, which should be here somewhere. No, not that one. Is this the
one? Yeah, this is the one. And what we can do is we can just go ahead
and import this. Basically make this really large Come on. It's really bad with,
like, movement and stuff. Let's just do
something like this, and then we have the shape. Luckily, we have a
high resolution. Let's just grab this shape, right click and rest
try your layer. Contra I to delete everything
else. So now we have this. What I want to do is I just want to go ahead and I want to select this shape because else I cannot do
pop up selection, edit, cut, and then just
placed into a new layer because there's always still
some stuff outside of it. So you can actually
ignore that function we did at the very beginning. So now we have this. Now
I'm going to go ahead and I only really
need the bottom. So that's the one that I'm going to kind of, like, cut out. And what I'm also thinking
about is so, yes, we do need to change the
bottom piece and everything. But I think I know a good
way to save some time, and I will show you
that later on for now. Control Shift. I delete
O, delete this piece. And then we can just go
ahead and we can just do like a free transform
and let's have a look. So if you just hold
Shift, oh, yeah. You can hold control to basically
do some slight warping. So what I want to do
is I just want to warp this on here and then
maybe do some bending. So if we do this and right click and let's do another free
transform, and this time, you can use this warp tool
over here to kind of, like, select the
pieces and warp them. And I'm just having a think about what this is
going to look like. I'm just going to go for, like, a general edge. So what I will do is
I will just try to, in general, just follow this
shape around over here. So for now like this
will look really bad, but we just need something
to follow and curve. So if I just go ahead
and save this and I can save this in my
reference folder. JPEG. 02. There we go. That will
just make it a little bit easier for me to draw
out all of my spine. So if I go to my side
view in this case, create a simple plane,
make the plane square. So 35 by 35 and just get
rid of any segments. Let's switch from
wireframe to default shading and let's just
as always just apply. I'll shape, and this time,
I'm going to drag in my Architecture. Oh, sorry. Make sure to turn off over wt. There we go. That's better. Okay, so we got this
really messy looking, but it works shape. I'm going to freeze the shape
and show frozen as gray, so just right click and do
your object properties. And now what I basically
had in mind is that because this is just going
to be a simple flat shape, I want to only draw out
the spline on the top. I'm not going to make
it like a closed spline and then I will just
extrude this in. So basically, I'm
going to use my line. And we probably do want
to go ahead and go for some slight smoothening
so we can go in here. And one sec. I wait. I do have my reference open. I'm going to go
ahead and I'm going to make some of these. Shall I make some of these
quite sharp? Having you think. If I go here, here, maybe do this one
a little bit soft. No, it wouldn't look good if that one is soft, here, here. And then just go ahead and
follow the shape around. And then this is
more like a flower petal in the higher
resolution version. So I just need to
follow the shape. While keeping
things fairly soft. Don't worry. I will, of course, clean this up later on, and it might take a while
to clean it up. But this is like the last
shape that we need to create. Then we are pretty much well, no, we still need to
do one for the roof. But then we are
pretty much done. I don't like these
sharp points over here, but that is something that
I can work on in a bit. And also, it looks like
we can symmetry it. So I'm not going
to do all of them. For now, I will
just do this one, and grid like another
bump and here, and then grid like another bump. And then I'm just
going to go ahead and I'm going to actually, I'm going to leave
it like this because I was going to do one line. So now let's go in and
actually try to fix this. So out saving. Give it a sack because the
bigger our seen becomes, the longer it will
take the out to save. So let's just go
ahead and go in here. I'm going to make
these quite smooth. I would say that over
here, this is fine. Something what you can sometimes try to do is you can try to use a fillet and fill it basically smooths out
your edges a little bit. But often it doesn't
do a perfect job, and you need to still go in with like a Basier
corner and just, like, edit it a little bit. But you can see that will create some slight smooth edges. Now for this one, I feel
like that we needed to go make this a
little bit smaller. Going to move this
in a bit more. Because these ones need to be like, really nice and round. Yeah, so that goes fairly round. Hmm. I know that even in real
life, it's really uneven. Trying to just make it a little bit even to get started with, but it's a tricky one to
get really nice and soft. But most likely what
we can also do is, I don't know, shall
we make this a hypol? Often, if we make this hypoly it will read a
little bit better. So we might want to do that with this specific one just to make everything read
a little bit better. For now, however, see, this one can go
quite smooth around. I'm fine with that. And now we need to decide what
to do with these. Over here, I think I'm just going to go ahead and
fill it also at this point. Then I need to go and
do Bezier Corner and I need to edit this. We got those two shapes. It feels a bit
unnatural to work so unclean, but because literally, this is all probably done well, with a really basic cast
iron and stuff like that, it's just not as precise. That works. So we can have a little bit of creative liberty
by also making it. Not as perfect. This one, I'm just going to go ahead and okay,
so it's a corner. I don't think fillet will work
for this, as you can see. And the reason for
that is because we have just like a few
pieces if we just do a Bazzie corner over here that
you need to kind of, like, rotate this and move this around to like a Bazzie
corner in order for this to work properly because they are interacting
with each other. So Okay, there we go. That one goes around
quite nicely. Over here, even in real life, I would say, Well, there is a little
bit of symmetry. So what I have over here, this is not good enough. What you can do is you
can go ahead and use lines to basically
create specific points. Almost like grid points
because what I can do is here, I can now move this one and I can go ahead and I can also move that now over here. This allows me to
basically see a little bit better where I need to end my lines and
stuff like that and it's a bit tricky to
make this perfect. So if I move that one there, but that would mean that
all of these would then need to move all the way over
here just for that to fit, which I don't think here that
will not look very nice. But we are now, we are not
doing a good job here. It is because it is warped, so it's really hard for me to properly see which way
to go and stuff like that. So have a look, if I go here, like this side
over here is fine. Sorry, it's out saving again. This side over here
is pretty much fine. I'm fine with it, having also that little
bend and stuff like that, and I need to just
kind of rotate it. But then comes the question
where we need to go ahead and also get started
by moving this down. So, it would make more sense
if I do something like this. I have one round bit that is
then sitting at this point. This one over here, I
don't think I even need, all I can do is I can
go ahead and I can press delete on it because I feel like I am
basically using this one. So the thing is that here, we need to do a Bazzie corner because this one is supposed to go Up? No, not up. Well, it does go up, but
I'm just trying to make this stuff feel it doesn't
have to be perfect, but I need to try and make
it feel fairly similar. So right now, this
one is quite thin. So I want to mimic that by moving this a little bit lower. And here, let's go
ahead and reset this to smooth and then set it back to a Basier because I need to kind of like
here, that's what I wanted. Something like this. So just give me a second because
this detail Okay, so this one is still
quite a bit thinner. So I feel like that
maybe over here, I need to push this back in and then push
this one back in, so it goes, it kind
of goes over it. Yeah. So here it does kind of, like, follow the lines where it goes over it and also over here. And it's pretty much also on one straight line in this area. So I would say that yeah, something like this
should probably be fine. I'm just making some
final adjustments. Yeah, I'm going to
leave it with this. I think that should
be good enough. Over here, I also want
to go ahead and make some final adjustments
by moving this down. And then here, I'm just
going to use my fillet note. To add those extra pieces. Okay. Let's get started
with something like this. Now, around this corner, we are going to have a couple of problems that I now realized. So basically what will happen is what I
first had in mind is that now we have this
shape and that we would basically create a
sweep modifier with a bar. And if we just lower
that down like that, we will push it out like this. However, as you
can see, that will create some additional problems where it's too close together. So we cannot really push it out. We can do something
like this, but we still need to
merge it together. So most likely what
we can just do is we can just guide it along the bottom and just make
it nice and smooth. And then over here, we will just like, go ahead and
continue it out. So I'm basically
talking about this. And this is something
that we will, of course, later on need to kind
of, like, add it. But just in general, I'm just going to not have any
details at the bottom, and I'm just going to go
ahead and I'm going to nicely move this down here. And then do the same over
here where I just add some additional details.
Actually, you know what? No, I'm not even I'm just
going to keep that last one as one detail. And then I want to basically
t just quite closely follow along like this. And then, of course, we
need to go in and once again, have a look. So this one. Oh, wow, we are already at 40 minutes for just, that's
just how it goes. Sometimes. Sometimes
you just have like this shape that's a little bit more
annoying than expected. And then things take a
little bit longer than expected. I'm just
going to twine. I can see over here
like there is actually quite a big difference in
width, also in real life. And let's see. I'm actually probably
going to make this one a little bit softer. Yeah, that looks a
little bit better. So anyway, I was saying, this was a little bit
wider also in real life. So it's kind of up to you
what you are comfortable with if you want to make
it the exact same width, or if you want to make it
wider and stuff like that, I'm going to make it a
little bit more like do a similar width
along the entire line, so I'm just talking
about these sites. And then over here, I'm just going to go
ahead and use this one. Probably at this point, I can probably go in and
just do a simple connect. There we go. That we'll
just do like the symmetry. Okay. Wow, that was
quite a bit of stuff. Now what we need to do is
we need to grab this one. We need to now impose it
over this actual shape, so we need to scale it up, make sure it's all fits
and stuff like that. Sometimes I accidentally
changed my scaling mode, so I just needed to set it back. But basically, we can now
also decide like here. So that's why it was handy
that we just imposed it on here because then at
least it somewhat fits. Now, the only thing
that I'm not really happy about is this
site over here. I feel like a this. I don't know if we want to
maybe like do this and then just simply
delete this one. And maybe do a Bazier
corner and then this side can be like
this and then this side can be quite straight. I don't know. Would
that make sense? Or should we go for Well, in real life, it is bend. So I guess maybe we should just follow real life a
bit more, bend it. But then, maybe bend it
a little bit like this. Okay, let's just try
something like this. I feel like we've spent more
than enough time by now. I'm just going to go
ahead and I'm going to do a simple extrude
in this case. Push that back in. Oh, that's actually quite a
nice thickness 0.5. So let's push it slightly
inside of our shape. Let's go back into our
line and just make sure that over here,
don't etch your faces. It's a bit sensitive, but
make sure that over here like we add some nice bending to it. And then I don't
like this last one over here where it's
like, 1 second. Let me just isolate it because Elsie can
see what I'm doing. Over here, let's just
do a Basie corner and let's give it a
slightly softer bend. And again out the saving. Okay, cool. So we got
this one now done. I'm going to go ahead and set my interpolation
probably a little bit lower should make it a
little bit more manageable. But this shape should work. What I will do with
this shape, however, is I will most likely
just take it into Z brush along with all the pieces and just create
some addits on it. Also, no, wait. I'm going to actually end
the Whoa, What happened? I'm going to actually end the shape here
because over here you can see that it also doesn't
really go around corners. So I will go in
and at this point, add a symmetry modifier on the x axis and just go ahead and press flip and because I do want to, like, see. Yeah, I do want to, like, push it out a little bit more. So let's push this out
and then just go in here, and then we need to
go to our side view, isolate this again and
go back into our line. And here we can just use
our line to kind of, like, maybe push it out
until it kind of, like, hits a nice center. Ah, how is that? One just date this one because that one
doesn't look very nice. But let's have a look
at it from distance. Yeah, that should
work. Okay, cool. So we got our symmetry now, and now if we just go
ahead and lipooli, select these two
phases over here and just simply do
a bridge on them. Then inside of ZBrush, I can take care of the rest. Okay, finally. So that
piece is now also done. So now the last thing
that we need to do, and that's where I
will end this chapter. So next chapter,
we will go ahead and go inside of ZBrush. But for now, I was
just wondering about like this end over here, like the best way
to basically end that and also connect it and place it and all
that kind of stuff. Now, what I had in
mind because we are going to use s
brush is to basically, fuse some stuff together. So first of all, what we can try is we can
just try to, like, asymmetry. Not on that side on the x
axis and just flip it around. And then you can still
bend it to make it feel a bit better. But the symmetry, it doesn't work quite well
now that I look at it. Well, actually, you know
what, it might work. Like, we might just move this tiny bit forward or
something like that. Like, it does make more sense to have
something on this end, but then we would still
need to, of course, have this end over
here also closed. But that's something that
we can also work on. Mm. Or what we can do is
we can make it just like one big close shape. So if I grab all of
these pieces over here, that I would basically go in
for my not my front view, but this time my back view. So I'm just going to
select the back view, and I will go ahead and go
for our wireframe over right. That I basically
just grab a line. Then because I will
dynamesh it later on that just having this line here and then
if I just close it off, Let's move this
all the way back. That might just also do
a trick because yeah, we can smooth these edges out, so we don't really have
to worry too much about them not lining up
because it will become one smooth chunk. And then over here, I do
probably go in and move this. And then we move it up until no, we would not move it
up until that point. We probably move it up
until like this point here. So that's another idea,
so that we can do this, and then we can also just go ahead and close off the gaps. I think I'm going to
go for that technique. That might be better. So I'm going to go
ahead and first of all, duplicate this piece
and just mirror it, and the mirror should
fit perfectly because we mirrored everything like this. And then this one,
it's not going to be part of our selection,
so I can hide it. Just having a think.
So basically, now for the back view, I want to go in and
I'm going to o. Create an edge that
goes around here. And then I will
just cut it along here and then along here, and then down the bottom, I will kind of just
try to do the same. Yeah, let's do that. So we'll have an edge
that goes along here. And then we'll go ahead
and cut it. Along here. And once again, doesn't
have to be precise. We're going to smooth
it all out along here. And then what I would do is I would go in and I would kind of, like, at this point, just make it follow the
circle, go to the next point. This might seem really messy
what we're doing right now, but it should read quite well. Once we are done with it inside
of sea wash. There we go. Something like that
should be enough if I go ahead and
just move this. And basically, we're going to
do a small extrusion on it. Yeah, something like
that, that's fine. And then we just want
to kind of place this really close
together with the rest. You can go ahead and
go in your line, and all you need to
do is just kind of push these lines into our shape. I don't even care about
that kind of inaccuracy, because this is all
going to be like one solid chunk of mesh. So that's gonna be the focus. Um, let's push it out a bit. And let's just go outside of isolation mode and just like
unhide also this piece. Yeah. I think that
will read fine. Okay, awesome. So
we got this done. Let's go ahead and
finish the chapter here. And in next chapter,
we are just going to throw this into Zbrush. And after that, we will just
right away throw it inside of ism U V to give some
UVs, and that should be it. But for now, like, that works. It's getting there, so
we are quite close. So let's go ahead and
finish this thing off.
68. 68 Creating Our Roof Part9: Okay, so let's go
ahead and continue. Now, the first thing that
I need to do is so I need to prepare this stuff for brush. This one is very easy. Just select everything
and press connect. That's all that we need, and
we can just go ahead and, like, make the edges
smooth inside of brush. But, yeah, we need
to kind of, like, do that for all of the pieces. So if I just go ahead
and already select everything that I
need, let's see. So this is all I need
for Z brush, right? No, I feel like I'm missing something. I'm missing this one. Yes, that should do the trick. Okay. Awesome. Okay. So with these pieces, I
just need to go in, and I just need to go
ahead and press connect on them if they have
any end guns which are vertices that are not connected like this,
and that should be it. Now we can just go ahead and
select it Export Selection. I will just call
this rooftop tire serot because I don't know. What else I should
call this stuff. Cebush and export. Awesome. We got those done. I can
go ahead and I can save this one probably
in just like my oh, I'm just going to do it
in, like, quick trick. If you have, if you
need to go down a lot, just go ahead and quickly
create this in a new layer, and then just, like,
select the pieces and then just throw them
into, like, backup. That's often easier. So, okay, we got that stuff
done, and this stuff over here is already
ready to go. We can now go ahead and open up Cebush and we can go
ahead and import or, um, to the rooftop tile 03. So now we do get an error, so it seems like I
missed something. We can go ahead and
press quads and triangles to see if
there's anything wrong. Make sure to press edit,
and I will just quickly switch to a UI that
you guys also have. And then you just want to
double check and make sure, over here, I can
see some problems. But those problems, yeah, that one is actually a
little bit too intense. So what I will do is I
will go ahead and just turn on my backup. And I'm just going to
go ahead and select these pieces and
these ones so that I can isolate it. So it's
this one over here. So let's just go
ahead and connect it. There we go. Let's try again. File, Export, book selection, Rooftop tile 03, Export. See right so here. After a
while you get quite quick. I just like exporting and
importing all the stuff. So it is looking pretty good. Now, what I'm going to do is I'm going to go
ahead and I'm going to go to my subtols and
then if I go to split, I want to go ahead
and I want to well, there's many ways
that we can do it. We should be able to
just go ahead and select this piece and then split
masked points over here, which means that it will
have like this one, and I just want to
make double sure by turning it on and
off to make sure that only that one is selected. Because these I kind of
want to keep intact. I am not going to get my drawing tablet because I don't think I need it for this. I am going to go ahead and
go to om tree, dynamesh, and let's set this nice
and high to 1,400 and see how that stays intact. Okay, 1,400, I can go
a little bit lower. Let's go around 1,000
and then dynamesh. And then for these ones, we can literally just go in and do, like, a really strong smoothing
on all of these areas. Over here. And yeah, then of course, these parts
you cannot really see. But then over here also,
you can see that here, we can just make this
part of the same shape, and that's why we just had
to go quite close together. I'm also just going
to go ahead and smooth this bottom side
a little bit because, it has not the best geometry. And then over here, once again, you can just go in and
smooth these sides. And I'm just going
to also smooth the back just in
case you can see it. If we're doing this
anyway, we can just well smooth it all together. I guess since I did
not fully enclose it, I do feel like I'm
missing something or not. I guess what I'm missing is
that this shape over here, I made it thin and I did not
fully enclose it. It's fine. Now, I'm not going to
bother changing it. It just means that my
UVs are going to be a little bit interesting how
we are going to handle that. But most of it, we don't really actually
need to UV unwrap it. We can just do an outdo UV probably because it is just not important since
you will not see it. But for now, the goal
is just to make this easily merge together because doing this inside of three years Max would
have been a pain. So we got this stuff over here, then we just need to
finish it on top. And it's also where
we soften the edges. So just hold shift and nicely
go along the edges also. And over here at this edge, I almost missed,
Let's have a look. Yeah, I think that looks nice, like it's fully merged together. And then over here for this one, all that we need to do is, oh, God, that one I
still need to dynamesh. I think all we need to do is
just like a simple dynamesh. If we just dynamie it like 700 and that's called Shift
and see, here or see. Dynamesh at 700 is already
good enough for me to go in and soften out these shapes. Yeah, sometimes
because I hold shift, and then if I
accidentally miss click, it twice to click next to it. Now, I know that we
do not need the back, so what I will do
is I will actually remove the back
from this inside of C brush, not too difficult. First, let's just go ahead and, like, smooth all of this. And around here. There
we go. Nice and soft. Okay, so just to
remove the back, what you can do
is if you just go ahead and go to solo mode, this is the back if we
just go ahead and hold control and then mask
out the back like this. Then all that we need to do
is we just need to go in and go down to poly groups and just say
group mask over here. And at this point,
if we just hold control shift,
click on this one. I will hide the one behind it. And at that point, we
can just go to geometry, modify topology, and just
press the lead hidden. So now it doesn't
have a back mask. So having that done, now what we're going to do is we are just going to go ahead and do a decimation
mask on this. And once again, I do not want to bake any norm maps for this. I'm just not really
in the mood for it. I want to make my life a bit easier by using nanite so I'm just going to
pre process this one. Preprocess it again. 3,000 is a little bit too low,
let's set this to 50. There we go. Let's do 8,000. That looks like a nice value. Now, let's go ahead
and go to this one. This one is going to be
quite hypole probably. Right now, it's 1.6 million. So let's just go
ahead and fix this. Yeah, the UVs, I will need to have a look how
I'm going to handle those. It's going to be
quite interesting. Then this one is done, and
then we are happy days. So after this, we
are just going to finalize the Us of
everything, I believe. Let's go ahead and just
preprocess this once more. Decimate I think we can go
I think we can go one more, but not at here, let's do like 70%. Okay, we can go in one more. Maybe final one. Like, I have a feeling
like these bits. Once we smooth them,
that should be fine. Just go to soften this
one edge here and here. To make it fit a bit better because for some
reason, it broke again. Okay, I think that
should do the trick. Awesome. So we got these pieces. Now it's just a
matter of going into our subtols and I'm just going to go ahead and
merge them again. So let's just press merge
down and just press Okay. And let's go ahead
and export this. Go in here exports from Z, call this roof tile
03 in the rhymes. And I'm going to also
quickly go back. Oh, wait. I cannot undo that.
Operation. Never mind. Then I'm just going to
leave it like this. So we will not really have
a safe file for this piece, but it was quite easy
all that we have to do. Now I'm just going to go
ahead and go to Rhythm UV. And I will probably at this
point kick in the time labs. So let's first of
all, load it in, make sure that
everything is correct. Yeah, at this point, I will most likely kick in
the T labs to do my UVs. In the Tabs, I will go ahead and I will
do a bunch of stuff. So I'm going to do the UVs. I will 1 second. Let me just turn off my backup. So I'm going to do the UVs. I'm also going to go ahead and finalize any UVs that
I have over here. Then I'm going to already
pack everything together. Because we are pretty
much done here. And what I will also
do in the time laps, so this will be a
longer time laps is I'm going to just create an
end piece over here because this all shows techniques
that we've now gone over so many times that it's no longer needed to
go over it again. So that is the
general plan for now. And so we already
did the base UV, so those are all
metal parts are done. That's fine. So yeah, I think once that is done, what we can do is we can start populating this scene,
but, of course, we need to make sure
that we create a backup of this stuff for our
texturing process. So let's go ahead and continue
with this in our well, actually, right now, because
the chapter is really short. So I will start kicking in a
time lapse now and that one will run until we have finished the UVs for
this piece over here.
69. 69 Creating Our Roof Part10 Timelapse: [No Speech]
70. 70 Creating Our Roof Part11 Timelapse: H.
71. 71 Creating Our Roof Part12: Okay. So we have something
pretty cool going on here. As you might have
noticed, I did not really bother finishing the back
because you will not see it. So I just made it so that we can see these bottom sides here. But yeah, basically,
in the time laps, we just went ahead
and we went over our UVNwrapping and just placing all of our assets,
and now it is ready to go. So the next thing that I want to do is I want to go ahead and basically assign some materials, and then
I want to export this. I do know that I
still need to place my metal details over here. So that is something
that we will also do. But already, just to
prepare for things, I want to go ahead and
do it like a fun export. So this is like a little
tiny bonus chapter where we will just have some fun and see what this looks like in engine to make sure that also everything
is looking correct. So for this, we
need a few things. We need, first of all, a
few different materials because we are just
going to import this as one big asset. However, the doors are
going to be separate, so we will need base. Wood. And I will
just do this one. Metal. Details. This one will be roof on the score 01
or the score Boot. And this one will be
Move unseoTUnsce Tiles. Something like that
should be good. Okay, so now at this point, we can go ahead and we can go to our base door along
with the duplication. So we can right click
Select Child Notes, and this one can be the
base boot. So apply that. Then I'm going to go to
base door duplications, select child nodes and also, once again, just apply. Now that we have done those, we can just temporarily
turn them off. Over here we have
our metal details, which I can go ahead
and apply this material to and then over here, I have my rooftop, which if I just go
ahead and select that. And then we also
have the other site, which actually the rooftop tiles completion is included in that. Oh, that's a bit of a pin. Let's go ahead and first
select the rooftop tiles. So select child notes, those are these bits. Although these ones over here are not supposed to be in here, so that is something
that I do want to probably select this
one and this one, and I want to go
ahead and throw all of that into the rooftop tiles complication that completion
so that if I turn it off, all that we have left is these
few bits because this is all that we needed for
it, as far as I can see. Yes, so that's all we need.
So these are the ones that we actually want to
properly texture and everything, instead of trying to
import the entire thing that would just be a
lot of additional work. So 1 second it's out of saving. Out saving is starting to get really, really
slow at this point. Okay, it's done. Anyway, so
let's do our rooftop tiles. Let's select child notes and make these rooftop
tiles over here, and then we can already
turn those off. Then this one over
here, this one is going to be the rooftop boot. I can go ahead and
select that, hide that. And then we have these
pieces over here left for which I'm just going to go ahead and
I'm going to go probably to, like, my side view and
just, like, click and drag. To select most of this, and then also select
this piece of ear. Rooftop wood, right
click, height selection. Looks like that we have a
few more straight planks. Come on, properly
select. There we go. And now all that is
left is these pieces, and these pieces are going to
be our rooftop tiles again. Awesome. Okay, so that
is now all place. Now what we can
do is we can just go ahead and we can turn it all on payor, pay store
duplications. Now, there's one thing
that we do need to do, and that is that
this door over here. Well, you can pretty
much just delete it because it's going to
be the exact same door. And then this door,
what we want to do is we want to make
sure that we place it into our center so that we can
later on because remember, the Pivot point will be at 000 whenever we import anything
inside of in reel. So if we just place this at the center like this,
at least that way, when we import
this individually, we are able to properly, rotate it and all
that kind of stuff. And now comes the fun stuff. So we will start with the door pot selection
and two unreal, and this one will be FBX, and we will call
this one D score 01. Yeah, that should be
fine. Let's save. And I want to go ahead and
want to turn on triangulate. I always want to
do this because if we do not triangulate this, now what will happen
is when we import this inside of substance paint to
compared to unreal engine, when it triangulates, might triangulate in a
slightly different way, which will mess
up our smoothing. You can hear from
how I'm talking that I have explained this
many, many times before. But mostly, I would
say, trust me. Now, I'm going to
go ahead and I'm going to hide this one. And then over here,
this entire piece, because it's a static piece, we can literally export
this entire thing as one go because we do not need to do any type of movements in here as
far as I can remember. So let's do an export
selection on here, and this one is quite high. Like, it's 15 million polygons. So you can really see that
we need Nanite for this. Wout Nanite, this would
just be a massive no go, and we would need to highly optimize everything a lot more. I'm going to go ahead and
call this one door structure. Actually, let's call
this main. May? Underscore door underscore
structure, safe. And yeah, this will
be a big expot so it will take a
while to export. So what I will probably
do is I will go ahead and pass the video
until this one is done. Okay, so that's now exported. So let's actually see
what this looks like. And this will be quite
exciting because, of course, it will just look, in general, probably
really cool. At least I hope so after all
the work that we've done. So if we just go ahead
and go to our assets, I'm going to get
started with door 01. Build Nant on combined
meshes turned on, that is fine. So
we have that one. And now comes the big imports. And if you are not
able or your PCs, not able to handle this, then I recommend splitting it up. Then I recommend
having the top piece and like the bottom
piece separately, just to twine, like spit things up to make
things more manageable. So it all depends kind of on your computer and
stuff like that. This mesh will also
render quite expensively. Like it will be just a really
expensive nanite mesh. But because it is
the main piece, it should not be that bad. So let's go ahead
and input this. And it frozen reel? Not sure. Oh, there we go. Okay, so let's make double sure. Combine message
built that night. Do have this on. If you do not have this
one on right now, you will not have fun time. So let's just go
ahead and input it. And yeah, you can see over here that it will
probably take a while, so I would pass the
video once more. Okay, so that imported. Now, we can see that we
have a few problems, and this is because
we mirrored stuff, and sometimes it happens where
you then need to go ahead and reset the X forms
and flip your normals. So that's like a common problem. In general, it did import. So we have Nani triangles, 15 million triangles, and
we have a decent fallback. Um it is quite a massive
size on disc over here, as I can see, and I'm not really too
happy about that size. So what I can probably do is split this up into a few
more manageable pieces. And you can literally choose how much you
want to split up because most of
our geometry is in this area over here. It's
looking really nice. This is really great stuff. But yeah, because most of the
geometry is in this area, what I will probably
do is I will probably split down the middle, and also we will go ahead and
fix this stuff over here. So that's the first thing
that I'm going to do. Now, to fix this, basically, if we go in here, for some
reason, it's loading. Yeah, I was just looking at some stuff in the meantime
while I was waiting. Okay, there we go.
So it's this one, for example, over here. Now, what I want
to do is because this is still in a group, I'm going to go ahead and
I'm going to ungroup it. And then I want to get
started by first of all, going over here to reset
X form and reset it. Then what you can do
is you can go ahead and you can go to your
object properties, turn on backface culling, just to make sure that
everything is fine. If you still don't trust it, there is a normal
modifier over here and you can see that that
would like invert it, but it looks fine. Now what I will
do is I will just go ahead and regroup it again, just to make it easier for
me to actually select stuff. This one had the same problem. Group, ungroup, right click, restax from converter
Adi pool, group regroup. That's basically what we will
be doing. Same over here. Let's just go ahead and um group group because you can also see that you cannot even do the restex form when
it is in a group, convert at the pool
and just group again. I just to have a look. Yeah, this end and these
ones are rendering fine. These ones are rendering fine. Okay, so it was just those ends, and it was also this
one and this one. Is there anything else,
okay, so just those two. So we can go ahead and
we can go in here. And this time, let's just go ahead and turn this
one off and go to base door duplications. So this one, reset X form. And it was this
one, reset X form, and also do like a
weighted normals on them because often
the reset X form does actually break normals, and that reminds me. I
need to double check. These ones, you
probably won't even, you probably will barely be able to see the
weighted normals. But we do need to apply them. Okay, so, that is now done. Now, what I will do
is I will go ahead and if I go in and let's see, I need to have my rooftop on right click on
Height. There we go. I'm going to have my
rooftop base over here separate from the rooftop tiles completion because I want to
have the tiles separately. So I'm just going
to go ahead and, like, divide it up into
layers, basically. This one I will go into
the layer door over here, so I can just
easily turn it off. Then the next one is
going to be like we have our base door and our
base door duplications. Now, that one is fine to keep. Then have my rooftop. And what I'm going to
do is I'm just going to add this side also
to the rooftop. Like it's such a small bit of geometry that I'm
not worried about it, not reading well. So let's do this
one is going to go into our rooftop piece. And then we still have
these ones over here. That can also go into rooftop
piece. Let's have a look. That's the rooftop,
and then we have our rooftop tiles for which we have our base tiles and
we have the completion. Now, I still want to
keep this intact. So that's the tricky
thing, because I don't really want to combine
this with anything else. What I could do, however, is I could just simply
go to my st view. And I could select let's see. If I select this
piece over here, so this is around 3 million. I have a feeling
these pieces are Oh, no, it also need 2 million. So let's say that we have
this piece over here. I'm going to go
ahead and I'm going to probably just group it. So let's first of
all, ungroup it all, and then group it
again and just call this one site export. And just preso, because
it also took really long to import this
inside of unreal engine. So that's why it is easier. So we have this one, and then what I will
do for this one, is I'm going to go ahead
and convert it to a apol. This one I'm actually
just going to go ahead and place in
the center over here, and I will call this one. Actually, I will actually
do this in a new layer. Hoof tops called Adom
On the score zero, one. There we go. And then
I can simply export this and then place it
inside of UnwelEngine. So that will save us
again, 1.6 plus two, so that will save us 4
million polygons that we need to input into
one additional thing. So this one will be
Oh, no, wait, sorry, I don't want to export it just yet. So actually close that. So we have our rooftop add on, and then this one
here, we can delete. Okay, so now we
have the rooftop. And if you want, I don't know
how much this is 6 million. Um, and if I move this. Okay, so I do need to. Yeah, it might be
easier if I actually go ahead and just also export
that one separately. Here. Just to make our message a
little bit more manageable. So I can also go in here. Let's just do an ungroup
and group top trim. Yeah, let's just
call the stop trim. Okay. So we now still
have everything intact. So if I now go ahead and
right click and hide, just press No, I can
hide this stuff. Okay. So we want our base
door with our duplications, and then I will also have
my rooftop attached to it. There we go. Because
this one is only 81,000. This is the Wily lowly
compared to our roof ties, but that was intended. Let's just go ahead
and grab this one and that's export selection, and I will call this
one, main door. Let's call this Wood. And let's do a heady export. Okay, that took no time at all. I'm also going to go
ahead and I'm already going to go inside of Unreal and just right click and
delete this large asset. Our door we can keep. Now if we go ahead
and so this one, we have our rooftop don. Export Selection. Rooftop on the score, add on on the score 01. Just in case we
later on also want to use these for
our other roofs, but the other roofs are going
to be a little bit lower, so there will be a
slight difference. Let me just pass the
video until this one is done exporting. Okay. So now we have our roof top tiles and our
rooftop tiles completion. I'm going to select the B. File Export. Main door one tiles
on the score. B et's go ahead and do that and once again pass
the video. And there we go. So we can hide selection. Then this one is going to be main door tiles on the score. Top, trim. A nice thing is with all of
these FBXs when we actually drag them into the scene because they are already in position, what we can do is we can
basically drag it all into the scene at once and
just have it ready to go. Having it so far, don't
worry about. This is normal. Having it so far, however, from 000 might cause
some slight problems with our distant
field calculations, which is an optimization
technique for lumen, which I will go
over near the end, but we will hit that
road when that happens. Okay, this is taking
longer than expected, so let me just once again pass. Okay. And yeah, FBXs are never really good with
really high boiling models. You can export this as an OBJ to unreel I'm just
not used to using OBJ, so I'm worried that
something might not go well. Main door tiles and
this one will be front. And that's the last one
that we need to export. So we can just go
ahead and export. And while lettuce exporting, we can actually
already go in here. So we have a door zero, one. Let's go ahead and just
grab our main door wood. That one should take
not long to import. Then we have our
rooftop ard on piece. And you can see
that now it's also quite a bit easier to
import this kind of stuff. And now what I will do is
we have our main door tiles back top trim and froned and I will just import all of them at the same time. And I will just pass the video. Yeah, just press Import.
I will pass the video again until this is done because this is going to take
a little bit longer. Okay, perfect. So that is done. Now, I already see
a problem over here where this entire site over
here is still inverted. But you can see that over
here, the reset X form did fix the rest. So it's just this entire site. Now, that's an easy one
because it's a quick export. So it's just door base door
duplications and our rooftop. And if this is the front, I should I will group it
again, so don't worry. Is it also that extra
pillar next to it? Yeah, literally
the entire thing. Okay. So that's just
annoying whenever you are using symmetry on stuff. That it kind of
breaks a little bit. Also, I want to make
sure that because we have this detail over here.
Okay, that's looking fine. Let's move this and just make sure that I have
everything selected. No, there's one more, although you cannot even
see it, to be honest. I just trying to select it. But honestly, I
cannot even see it. There we go. I think
now I got it selected. Just for good measure. One more. There we go. Yeah. Good measure.
Everything is selected. Cool. We are going to go ahead
and reset the X form and then just quickly throw
it back into a group so that it's easier
for us to manage. But that should fix that one. You can just go ahead and
overwrite your original FBX, which is going to
be main door Boot. And then just as simple as just going in here and pressing reimport and hoping that
it now reads correctly, which it seems to do. Okay. Awesome. I do see some shadow
problems over here, but those problems can happen. Oh, wait, and we
need to twightenoms. But those problems can basically happen when we work
with larger meshes. So it's something that
I will show you how to fix a little bit later. Main door woods. So I always forget the
art weight normals after, which I should really
not do whenever I do tiles fixing or
something like that. But there we go.
Okay. So for now, that one is looking correct. Our main tiles back is looking
correct on both sides. Then we have our tiles front. That's too bad. A tiles front, we need to go in and
turn this one off, this one off, this one off. Um, Is Oto saving, white
when I'm doing that? Well, while it is out saving, I can just go in and top trim is looking
correct on our sides. Okay. And then we still have our rooftop ardon which is also looking
completely correct. Awesome. Okay, so everything
is now pretty much working. The only thing that we need
to do is in our main tiles, which is rooftop tiles and
sorry, not rooftop tiles. Roof tiles and completion. And it is this one, I believe. For some reason, it
is not selected. I don't think it's
actually this piece. It's just like these
additional pieces over here, is that correct? I just have a look.
Yeah, if this is the front, it's, those pieces. And I can just go ahead
and I can reset X form, add my weight to normal spec, convert it at the poly just
in case I will also group it to make it easier for me to select. But that should be it. So we should be able
to select all of this, export selection, and this is going to be the
front one over here. So let's export this and let's
pass the video once more. And that has imported correctly. Nice. Okay. So now
what we're going to do is we are
basically going to select the pieces that we want, which is going to
be the main door with tiles and the top trim, and we can simply go ahead
and drag this one in. So you can see that now
it is still in position. Looks like that we went a
little bit higher, actually, which is funny because I thought that we actually
went a lot lower. Interesting, but it should
still be manageable, like I'm just really
interested how that happened. Like, how did it go higher? That's weird. Okay. Anyway, we have this in place. Now what we can do is we can
grab our blockout pieces, and we can just go ahead and
we can start deleting those. It might be easy, actually, if I temporarily just, like, hide this one, this one, this one, and this one so that
I can get rid of all of these blockout pieces
because I forgot that they are pretty
much all separate. And also get rid of our door because we are going to
replace it in a bit. But it is already looking pretty exciting. So we got this stuff. What I'm also going to do is
I'm also going to go ahead and open up oops, these assets, and let's open them up and just
go to our materials. And I want, like, our gray I think just our normal
gray materials fine. So just quickly apply
this material. Over here. And then you can just press save because we need to
save it anyway, just to save all of our assets. And now, Console H and
look at that. Okay. So I like this because, like, we spent so much time and hard work just
getting this done. So it's like a nice thing to finally be able
to see our work. I'm going to push this one
up and out a little bit. And I'm going to go ahead and duplicate this and then just snap rotate this 180. Oh, at moved it a bit. Just make sure
that it's aligned, and then this one
can go over here. And it's mostly just
having a look at the distance between here and
then maybe moving this one, a slight distance up. And then this version over here, we can just go ahead and
we can slightly open it. Okay. Awesome. Look at that. That's
looking really nice. I see some Oh, no, wait, it's not
really a problem. It's just like the
oclusion in here. It's like, Willy Willy dark, but it should actually be fine. But over here on the side, that is something that
I might want to fix. I might just want to grab one of these pieces over here
and just kind of, like, hide it because I'm not sure if that
looks really nice. But just in general,
the detail of this is exquisite, to say the least. Like, I think we
did a w nice job, and we got some
really nice deals. So we are able to do, like, some really nice close up shots of this stuff,
which was my goal. I do notice that then over here, to make this work,
I would because, else, I did all that
hard work for nothing. We would probably
want to go ahead and, like, change our camera. So if we just type in camera, and I need to right click
Transform and turn off the log. And I want to kind like Move it out a little bit
because here, else, it would be such a
shame if we do not see at least a little bit of the top or maybe all of it, maybe just all of it. But then we don't see
much of the terrain, but I guess we will just
have some more shots. Maybe go a little
bit further back. Uh, I don't know. I want to kind of, like,
move it, actually, because it just looks
nicer if it's like a little bit with the camera
straight and not looking up. Let's start with something
like this for now. So yeah, in general,
I quite like it. I do feel like that over here, there's too much empty space, so I do have the urge
to kind of, like, grab everything like this and then move it
like down a bit. So that's something that we
are going to work on next. But for now, let's finish
things off by just grabbing our this piece,
whatever it is called. Placing this nicely
into position, which going to be something
like over here and I'm going to nicely have one
here and also so one, two, one here. There we go. Yeah, that reads nice. Kind of wish they were
a little bit bigger, but I have a feeling
that if we also later on create
camera angles that just go over here and have
little leaves everywhere, like, it will look
really, really nice. So in our next chapter, what we're going to do is we
are going to basically try and or add some visual interest in here or push this down. I feel like that we cannot
really push it down much. So it might just be
a matter of, like, adding some extra
beams or something in here to add that
visual interest. But in general, I think
we did a really good job, so this is looking really nice. Let's go ahead and
continue on to the next chapter where
we'll finalize this stuff, and then we can finally continue with the texturing process.
72. 72 Finalizing Our Main Door Mesh: Okay, so let's go
ahead and continue. Now, we have something
really cool looking already. What I wanted to do is I
basically wanted to go ahead and actually move this
down because right now I'm just not happy with
the space in between here. It just looks really strange, having this really big gap here, and I just feel like
it will look so much nicer if we just lower
everything a little bit. So that's also why
it's good to often, get it into reel before
you start doing, like, all of the texturing
and all that kind of stuff. But just in general, like,
it is looking really good. So I'm going to go ahead and let's see, I'm
going to lower it down. I'm going to place some of
my metal details on here. And I think then what we can do is we can get start
with the texturing. Once everything is
textured and set up, then there will
be a massive time ens where I will
be creating all of these additional pieces because else it would just
take too long. And after that, we will do probably like another
chapter where we'll just, like, go over this
one and then we can start focusing on our
twin and all that stuff. So that's the plan. Let's go ahead and go in
here in three years, Max. Now, the first thing
that I'm going to do is I'm just going
to go ahead and move everything down to
the level I want it to be. So I need for that
my rooftop tiles, not a roof of atom. The rooftop I need over here. I think that's
everything, right? Let's just quickly
delete this on. Those are the base doors. Yes. So I'm going to go ahead and just grab
all of this stuff. And basically, I just want
to go in and now turn on my base door and base
door details over here, and I'm basically going to
see how low I want it to be, and then I will just
alter my base doors and everything to go to that. So if I go ahead and actually
have look over here, just like for measuring, Okay, yeah, so quite
a bit lower until it's like just above. So I would say, probably
something like this. Double checking, is that
correct? Yes, I think so. Okay, so these ones I
am pushing back in. So I just need to
push this down and then take it from there. So let's see. We
have these ones and we have these pieces. Selecting them. And I
should be able to alter it. Like, I will not give me such
a large change in our UVs. So I should be able to
simply select this stuff. I just kind of move it down. And this is probably as
far as I can move it down without causing
some problems. So if I do this, because else it will cause
some problems here, convert aipoli is the weight
normal still intact, yes. And now if I go in here
and go to my side view, if I start by just
moving this one, up and make some very slight
alterations to it over here. But this one needs to be
a little bit straighter. Now if I go over here, this one because it is like one
no wait, it's a group, so I can actually go to
groups and ungroup it and it will just be a pain whenever I need to turn
it back into a group. But for now, I can just do this, move this one up and
move this one up. So that is fitting on there. Now we have this piece over here and these pieces and I
can just move those down. And maybe for these
ones if you want, you can quickly grab the tops. And move it in. I can see over here that this one
s, where are you? This one does not have
any weighted normals, so let's apply weighted normals. Actually, these ones also. Let's go just select all of these and just add another
weighted normals just in case. I guess maybe I just
did something to it. Unfortunately, it
also means that these ones over here don't
have weighted normals. I'm just going to
select the ones I can see and quickly apply
weighted normals. If you happen to miss
one, you most of the time do not really
notice it anyway. But here, let's just
do this. Okay, cool. So that should do the
trick for these ones. Now, if I'm just going
to go ahead and go to over here, we
have our rooftop. I'm just needing to make sure exactly what was included in it because now
I kind of forgot. Okay, so the wooden rooftop
is also included with it. So we have our base door, our base door duplications, and then we have our rooftop. That looks correct. So we can
go ahead and export this. Export Selection. Um, navigating to my
folder. Here we go. Main door, boot. And we can go in
here and just re import and make sure
that all looks correct. So, that small change
in our texture, it will most likely not really do anything, so that
should be fine. And now we have over here,
we have these top pieces. And yeah, it's probably better
if we just export those. Like, you can technically
just move them down. Although, actually,
now that I'm here, what I maybe first
want to do is I first want to just
quickly select them. And the only reason for
that is just to, like, move them down and see if it looks correct the
way that I want. I'm not going to do it
precisely. I will undo this. Perfect. Yeah, that works.
Okay. Awesome. So now that we know that that
is like a nice distance, what I'm going to do is go in
here and it is outosaving. There we go. So we
have our rooftop. Now we have our rooftop album,
we don't need to change. We have our rooftop tiles and our rooftop completion
spreas Anhed. There we go, because I
was missing something. So this one is back file export export
selection, tiles back. Here we go. Next one was going to be the
top piece over here. Export selection, top trim. And finally, we can
also hide this. We have this one over
here, the front pieces. And I will also
already go ahead and I will already import
them inside of Unreal, but you don't really
have to see that. Okay, so that's now imported, and I also place these
pieces a little bit down. And I think that we are now finally ready to go. Yeah, see? That looks so much better. So I'm happy that
we went through the effort of doing
that. Okay, awesome. So now what I'm
going to do is to finish this chapter off because it's just going to be
like a short chapter, I will go ahead and
place my metal details. So we have like these nice
metal details over here, and we can go ahead and
we can start placing those just by duplicating them. And once that is done,
we are finally ready. Oh, I can see here,
a little problem. But if we do Snaptlgs
phase, does that fix it? It does improve it,
so let's do that. After this, we can finally
start with our texturing, and we will start probably
with the texturing of our base door and then
take it from there. 1 second, in place here. You can see sometimes there's
a little bit of space. That's because we are the
small variations to our wood. However, I would say that just
in general, this is fine. It might actually be more
logical before I do this. Yeah, sorry about
that. I almost forgot. Before I do this, it might be more logical if I
just go ahead and create two variations
that have not that one. Two variations that
have these bolts on it. So if I just go ahead and
also copy these bolts, and just kind of
place them over here, and I will not place as
many as in our reference. So let's just make
like one, two, three. Actually, you know
what this one, I want to go a bit more to the outside. Let's see. If I just go another
two here and then another two here,
yeah, that should work. So, like, we get
these over here. Then what we can do is we can go ahead and duplicate them, rotate this thing 180. And just place
them on this side. And then we can
just place them on the side, and then we
can just group this. It's probably better
if we group this O we let's make it one big object. Just because we have the UVs, it might just be
easier to do that. Yeah, of course, make sure
to use on a duplicate because we want to go ahead
and later on texture. These pieces and it's not
handy if we are texturing when everything is already combined. There's two
reasons for that. One of them is that baking our ambient clusion would
not work correctly. The second one is that substance painter is
not as good as handling w high ply meshes as TS
Max and unreal engine are. So that's just something
to keep in mind. Now, at this point, I
have some smaller ones. I guess it makes sense if
I then also make my bolts, like one size smaller. Let's just do that.
And then for this one, let's see, the one, two, let's just do the same stuff. Because they are smaller,
it just kind of fits. You can see here
that I'm just like mostly just eyeballing it and just hoping
that it is correct. One sec. I only
select the outside. Go here. And here, there we go. Nice amounts of extra detail. And once again, just like, copy it, rotate it 180. Move it into place here. Go to move it a little
bit to the side. And next I can just go
ahead and go in here. 90 degrees and start by placing
it on one side, Deselect. Oops. This one, we can
place on the other side. And then this one, I'm going
to probably go for here one, here one, and here. And then it's just a matter of selecting all of this stuff again. Oh, hey, look at that. There are some
slight difference, actually, pretty heavy
difference in our height. You can investigate that. I'm not even going to
bother, to be honest. I'm just going to push
it back because it will be so minimal that
you won't notice it. And at this point,
I'm not working as clean as I would in, like, a production environment
just because it's a tutorial environment,
which is slightly different. Anyway, let's go ahead
and just place these also on this side and we
might need to once again, change our positions
a little bit. You can see over here. And
then that is also ready to go. I think things are
looking exciting, now we finally start
to get a glimpse of what the final
result will be. Of course, it does
mean like, let's not mess up our textures. And I'm saying
that mostly to me, but I'm also saying that to you, like thy will to spend
your time on the textures, probably even more
time than you would spend on your modeling, although not more time
than your modeling, but just spend a decent
amount of time on it. I guess I do also count making the wood texture
as part of our time. So that's something that you should take into account also. Anyway, these are now done. I can get started by just
moving this one up here. You know, do
something like this. That's pretty solid. And then we also have this one,
which I will move here. Yeah, I'm happy that I did this. Like this is looking pretty cool having these additional
metal details. So this one we can push. Here here and Okay. Here and just push it down. I guess if you want to, you can also use this one and just use it
over here and then, let's send them my pivot. We are just going to
advertise it like this is just something that's just
sitting on the bottom. It's fine if it
clips a little bit inside of our mesh
but there we go. I think that looks quite nice. It's really easy for
this one because we should be able to just
simply export it over here. I already applied my custom material as far as
I can remember, like the metal details material. So that's also good. We
got this one over here. Now, if you want, you can also place one here. I don't know if that
will actually look nice, but we can have a look
and see if I make it quite a bit larger, I might just decide
to not do that. Ah. I don't know. Like, over here, it does
cause some problems. For now, let's leave it, and
I will just if I need to, I will add it later on. Okay, so we had like
a separate material, which means that over here, now we can turn off
our rooftop tiles and we want to keep our rooftop. So this is done. Over here, we don't really have the space, so that's fine. So let's do this one,
and then the next one was going to be our door. So first of all, let's
export this main door wood. And now you can see that
exporting takes a bit longer. And then for this one, it
will ask you something. So if you reimport it, it will ask you like, what do you want to do
with your materials? And for now, you can just go ahead and you can press reset. So reset is fine. I will
reset your materials, so you will need to go in
and again, apply gray. But it's often the
easiest way to make sure that everything
is now correct. And it is. So now you can see these
small details here. They will look even
better when we actually have our textures on it. So for now, let's save
our trees Maxine. Okay. So we were going to do our
door and the metal details. So let's leave the
metal details for now. Let's grab our
Where is our door? Actually, you know what
these metal details. It might be easier if
we just add these to our door base here. Maybe it was still in our door. No, no, I think I can't
remember that's just nhd, but where did we leave our door? It's really strange because
I'm pretty sure that we made the custom material for it. If you cannot find
it, let's just try this. Let's
turn everything on. Right click right. Press yes. Okay, so there is my door. It is stuck in the rooftop
as a separate layer. That's not very good. Oh, God. Why did I place it now? So what I need to do is
oh, yeah, now it is here. Okay. I just dragged it out, so now it is working.
There we go. That was just like an accident, but it is fixed. Remember how we have
three different textures, so you do want to guide and,
like, use these randomly. And I need my reference. Let's have a look, so we need to have a look
like, let's just do this one. Okay, so like on every joint to have one of these pieces
that is totally fine. It's going to move these into
location first. Like this. And basically, so one would be here another
one would be here. And it's also fun to, like, make them a little bit uneven. So I'm going to go here, and I just realized that I made
this entire centre line. I literally only now
notice that I did not do, like, a small piece, but
I did the entire centine. That's awkward. But anyway, let's then also place
them in the center. It doesn't really matter too much. Like, I'm fine with it. I don't really care too much
about what I do with, like, a cent line, but it's a bit awkward that I did
not notice until now. Some people must have been
like way back like hours ago, just wondering, like, wait, why are you doing it that
way and stuff like that? Anyway, we have these
ones over here. Now, I can probably just, like, select them, move them down. I like that. And this
one I can get rid of, and this one, let's keep it on. There we go. Door,
you guessed it. Need to copy them
to the other side. Let's go center to pivot. And what I'm going to do is
I'm going to sorry, rotate, center to pivot and then
make sure to set this to local so that when
we rotate them, they will all rotate
individually. And then we can
nicely move them. That's it. Okay. Door is done. I'm going to go ahead and throw
all of these details into the door layer and export this. So door zero, one, and now
our measures are done. Okay. Sorry that this
again, took 20 minutes. Did not really expect that. Oh, 1.2 million polygons. That's quite high, actually. So in our next chapter, what we're going to do is
we are going to get started by creating the
textures for our base door. And then which is just going to be like these
pieces combined, because I believe
that they are all inside of one big texture. I will double check. But yeah, so that's the goal for now. Select our door. Double check that it has exported.
Yes, it has. And we can right click
reimport it over here. And now we can admire
our work. Awesome. Yeah, I like how we can also from distance see them,
so that's really good. Let's save our scene,
and let's go ahead and continue on to
our next chapter.
73. 73 Texturing Our Door Part1: Okay, so what we're going to do now is we are going to
start by first of all, exporting our meshes that we can use them inside of
painter properly, and then we can start
with our texturing. In our Export folder, I created a folder that I
called painter, because, of course, we combine some
stuff together here and there, so it's a little
bit more annoying. First of all, what we
have is so we have our base door and our actual door over here that
we want to export because those meshes are
all the ones that I believe are using unique UV. I'm going to turn off
my metal details, and over here, temporarily, I'm going to hide this because these details they
do not belong. Actually, you know
what? Yeah, let's just add these do our
base door duplications. Oh. 1 second. Strike them. There we go. Now, there was another one, and that is that over
here we have a door. However, these pieces,
the metal pieces on it, Those I'm just going to
also hide selection. So I believe that
this was like all of the texts that we
have for our door. We can double check
just by selecting it. Go to UVW web. Do not do
this with your tiles. This one is low ply
enough for me to know. So I can just
basically go in here and I can see that
if I select it, that everything is like nicely packed, so this
should be the one. However, your tiles, they
are way more complicated, so you don't really
want to do that. Now, another thing is
that this door right now, these pieces they can stay information because we need to think about the
ambient occlusion. How is the ambient
declusion going to behave? Because these pieces are going to be perfectly symmetrized. They will not behave badly
with ambit seclusion. However, these pieces over here, these should not be here. They should be actually the other folder in the base door duplications
folder over here. Sorry, I need to
do that because I need to keep this one
in the right position. What I'm going to
do is I have these. I'm going to throw those in the base door
duplication folder. Now I have these pieces
and I'm just going to once again double check that I
did not make a mistake. No, I did not. Then what I want to do is
basically this door. For now, I want to just
save our scene first. I'm going to move this one out of the way and
also these top pieces because I
don't want to have ambit clusion on those tops, I'm going to move it like this. You can move it a
little bit closer. Now I'm going to select
everything and I'm going to export this to our paints or folder and call this one base door on the score. Paint. Export. Okay. Now what we can do
is we can quickly do this so that it is back
into its original location. Now the next one is
going to be that we have our metal
details over here. Now for metal details, I'm going to just move these a little bit further
out of the way. Once again, I don't want to have any of the embitclusion interact with each other because
that would look inaccurate. Yeah, let's do
something like this. We have these pieces. We
can once again export. Oh, wait, is this? Yeah, yeah. Yeah, we needed this white. Let me quickly check. This one is sitting, that one is hanging out
there. We have these pieces. Export selection. Metal details on the score pins.
That's number two. Then for these ones, we can just leave so we
don't have to do something. Now we have our rooftop pieces. Oh, no, sorry, we have
our rooftop over here, which I can remember
was its own UV. This is why it's
sometimes good to just wide it down. We
have our rooftop. So HoftpUnsco Boots,
unscoe pains. Sorry if my audio
messes up whenever I am typing because I need to move my head
away from the mic. And then we have a
rooftop tiles over here. This one I cannot
really check the UVs, but I know pretty damn sure
that this is all correct. It is fine to have our
embitclusion up here because we will always have this
piece sitting on top. However, if you want,
you can move it around. I can quickly check here because it will be on
top here, here and here. So it's up to you if you
do not want to do it. However, I think
I'm fine with it, so I'm going to go
ahead and export this. Roof, tiles, underscore, paint. And this is why
we're not exporting the entire massive piece
B gas substance paint would just cry and it would
run really, really slow. Okay, perfect. Now, let's go inside a painter and
just jump right in. So yeah, we already went
over painter with our stair. Of course, this is
going to be wood, so it will be
slightly different. But let's go ahead and go to Export painter and start
with our base door. Yeah, base door paint. That's the one I want,
so let's open it up. We are just going to make
it four K resolution because we want to start high,
and then we can go lower. And then we can
just go ahead and press Okay. Okay, awesome. So all the pieces
are already in here. Now what I'm going to
do is I'm going to get started by going into
my text set settings. Scroll down into
our bake mesh maps because this time
we are going to bake everything
inside of painter. We want to set this at
four ke resolution. Turn on low poly meshes
hypol because we don't have a hypol and we just want to
bake our normal word space, AO curvature and position. The rest we don't
really need, so we can just go ahead
and press bake, select the textures, and
that should do the twig. I'm a little bit curious
why there was like, this one is not being
counted at all. That's interesting. One, two, three, four, five,
I already lost it. Oh, yeah, here, one, two, three, four, five, number six. Number six, why are you
not working door base, one, two, three, four,
five, number six. If it's really not working,
I'm just going to skip it. Yeah. Yeah, your Vs are
fine. Weird? Well, if it becomes a problem,
I will just, like, grab number eight and then throw it into number
six or something like that. Anyway, so we now have
our bags over here. You can go ahead
and you can press the B button to
switch between them. I can see over here
also a small error. And over here, I
can see an error. Actually, I see a few of them. That's really surprising. Why is it giving
me those errors? I'm afraid that we do
need to check this because these arrows
are quite special. First of all, what I
like to do is then I like to always
just quickly check my UVs to see if there's
a problem over there. Let's have a look
because this is not a normal behavior for
something like this. For some reason,
my mix is frozen. Okay, it's alive again.
So let's have a look. Let's go ahead and
open up our UVs. And the first thing
I always want to check whenever I have
baking arrows is that I do not have any type of overlapping UVs or
something like that. I do notice right
now that Oh, hey. Um, huh? Is it grabbing like
What is it doing here? I need to it looks like that it has something additional in
here that is really hipoly. I don't know what
it is, so let's just go ahead and press delete. Did I somewhere along the line grab one of
the metal details or or maybe it's because something is grouped and that is what is
causing the problems. Because here you can see it's
really, really slow also. So try to select something
that was really high detail. I don't get it. Let's go ahead and
just do unhide all No. Maybe this one is being grouped. We have these pieces over here. You know what? Let's
select everything. Let's go ahead and just go to
group and just ungroup it. Because now if you
hide something, it should not export with it. Now, if I go ahead and
try again, so select it. I don't have anything special. UVW map? Yeah, now it works. Okay, that looks a
lot more logical. That was really strange. Anyway, so we had a
problem over here. So what I first always like
to do is just quickly check, and here I can see the problem. We have something that is
overlapping and actually, there are multiple
pieces overlapping. So I think what happened
is that this part here, it does not belong to this area. It belongs to my rooftop. Yeah, here, see, it belongs to my rooftop, and I
did not notice that. So if I just go ahead
and delete it and throw this one into our
rooftop over here, then of course, what
we need to do is we do need to double
check our rooftop, so's turn off these bases. And let's have a look.
So this is our rooftop. I say that word a
lot. No. They are just hanging out here. But luckily, because we have
not done any texture yet, we should be able
to just select it, and then we'll just
add it to the rooftop. So let's go ahead and
just set this to 0.01, do an out scale, and then
just like pack it together. There we go. Now you do belong to the
rooftop. So that was strange. Before I forget,
export selection, rooftop, wood paint, here we go. And then we have our door base. And then that we need
to do for this one is I guess we only need to move
the door out of the way. Select export, selection,
base door, paint. Okay, and then just Undo moving the door because we want to keep that in
the correct location. And now we can just go
ahead and we can try again. So I'm just going to
create a new scene. Base door, paint, four Ko. Sorry, I missed something. Four k, OpenGL because I
like to work on OpenGL. So there we go.
Disregard this scene. Bake mesh maps, use low plus
hiplyFourk turn off ID, turn off thickness, Bake. Yes, it can go fast. And this is looking
a lot more logical. I was already thinking like. Those were some really
strange problems, but now you can see that now all those problems have
been instantly resolved. It was just some
overlapping UVs. So we can get started finally. I'm going to go up here
in my taxi set list and just call this one
base door on score. Good. And we can get rid
of our first layer. Now, the first thing
that we need to do is so we are going to decide, excuse me, what kind
of wood that we want. Now, I really like
this type of wood. That's why I went ahead and
made something in this type. I might also later on
have look to see if maybe we can add some
additional metal details. So I want this wood, but it is super clean. I also want to combine
with this more dirty wood. However, I do sometimes
like not this damage, but there are
sometimes some areas like over here where there's
a little bit of damage. I want to capture
this stuff where it's like white on the outside. I quite like that idea. Like over here, you
can see it a lot. And maybe I will
make a difference, maybe I will make
the main beams, like a wy rough damaged wood, and then the rest I will
make a more cleaner wood. I also overhear the lightness and stuff like that,
the differences. So that's more like the
idea that I had to try and use our wood to create
different balances. Now, I do not think that we have actually exported our wood
yet as an SBSCR file. So if we go all the way
back because it's been a while, yeah, we have not. So you want to go
ahead and you just want to open up a base wood, and then we are going to use that one to get started with. Okay, so everything has
already been exposed, so all that we need to do
is publish our SPsR file. It can be in the same location, so we can just grab
the press publish. And that has exported. Yes, so now we can
go and painter, import resource and just import your main master wood SPSR into the PBR metallic roughness because we have not
saved our scene yet. And what I'm going
to do is well, let's first of all, drag it in. File, save us. And let's do in our SAS folder. Let's go ahead and
probably in our door. Door score. No, sorry. Base, door score
boot, nscoePaint. And it's save that.
Okay, so that is done. Um, let's have a thing. So we are later on we are
going to add our masks to it. I don't really want
to do that now. I'm just going to go in
here, and from Panorama, I'm going to go to I think
it was this one that we used Buffino Street or Yeah, I think it was like
the Pavino Street. And I was going to go
in my post effects, turn on my tone mapping
and just set this to sensiomtic and set the Gamma
little bit higher over here. Something like that,
just to turn on antsing. And yeah, some areas. Also, I will save my scene, and something I can show
you so we spent a lot of time setting this up for
our stairs last time. Oh, sorry, I just
updated substance. So that's why it's complaining. So at least I can remember, for our stairs that we
set up, like all of these nice things where, yeah, here we had our tone
mapping and everything nicely set up and
everything's switched, you can actually save
this as a template, this scene, not the model,
but the actual scene. So you can go simply to file more save options and
save it as a template. And you can call
this, for example, JB nscorTot nscored model. Scene, something like
this and save it. And then you can use this. Whenever you go to new, you should be able
to go to template JP tooth model scene. So you are able to
use this template. However, in my case, because I just created
all of this stuff, I will not do that
for our base wood, and I will just go ahead
and get started with this. So our base wood. Now, the first thing that
we need to do is we need to decide on all of the
directions of our base wood. For this, I'm going
to go ahead and first of all, go to triplanar. And I want to go
ahead and I want to scale this down
until I have it at, like, a level that I like. Is going to be something like
maybe a little bit smaller. Something like this
looks quite nice. I'm just looking mostly
at my main pone. Now, what I can do is I want to basically select everything that needs the wood to be
in this specific direction. So right now you can
see over here that these pieces because they
are angled sideways, and I can also notice that
they have no weighted normals, but that's something
that we will fix later. We need to create
two variations. We have this master wood. On the score. Up? Oh, sorry, that's plus up. On the score up. Or you can do let's
do V for vertical, and then we can simply
duplicate it and call this one H for horizontal. And then the only
difference is that in the rotation we sets to 90. See? So now we can really
easily switch the wood. At that point, it's
just a matter of going ahead and adding a black
mask to these pieces. And then with this black mask, we can go up here to
our polygon select, sets to element, and just select the pieces
that are going up. So these ones, these
ones, these ones. And later on we are going to, of course, change our wood, improve our wood, all
that kind of stuff. But just in general, I can
see a small issue here. That's unfortunate.
Let's go to B. It seems to look
fine in my maps. So I guess it's just like
a small rando problem. Hopefully, it will not become a problem because there's
another one here. I'm not sure why these
problems are here. I don't know if it
has to do with any of my post effects or something. No antializing. I have no idea first
time I've seen this. But because my maps are looking correct when I press B
to cycle through them, I assume that that is fine. Oh, no, wait. L over here,
actually. Interesting. Very interesting. I'm
not completely sure. Let's go to our TD
and two D view. Okay, so in here it is
also causing the problems. But we are selecting this. If I go ahead and set
this to white, no here, it's I am not sure, but this is something that I have to make sure
that it is working. But knowing that if I look
at it from a distance, it looks like just a visual bug. But unfortunately, I
cannot count on that. So what I will do is I will go ahead and just quickly
expert this as a test. So that's a little
bit unfortunate that we now have to go in here. Let's make a sorry,
let's do assets. Make a folder called My door. Here we go. Folder. Main
door wood and select. And we can export this. For now, as BBR metal, roughness is fine and Tager. And if we just quickly
go inside of mom's head, so we have a stair, it's
going to und turn it off. Exports. And I will just
use the painter on. So this is just to
show you also like how to fix if you
experience problems, like how to fix those,
stuff like that. So we have a base
wood over here, and now we can just
quickly apply them. And then we know if
this is a visual bug or not because it is new to me. I've not really had
this one before, so I really hope that it's
just like a simple visual bug. So we can have a thing
normal roughness and metallic. Yeah, see? So I just updated
substance painter, and it looks like
it's a visual bug. But that is really,
really good to know because then now we
just know what to do. If you want, you can
actually save this. I'm going to probably
move this one a bit more here just for
presentation purposes. Like this, definitely.
If you want, you can already
go ahead and save the scene and we can
use it later on. So knowing that that
is a visual bug, I'm going to ignore it
for now, basically. Now, we also over here, we have some pieces where if
I go ahead and set this to UV and then set the UV
to black, I can nice. That's good that we UV unwrapped
it this way. Here we go. We can actually set these ones
to be at a specific angle. These ones, and these because these are all
going up, but these ones, it would not make sense for them to have the grains
going upwards, so we will make those sideways. And over here, I'm
not sure if this one. No, this one is also going up, so this one will
need to be sideways. Cool. So then now we just
go into the other wood and then we pretty much go ahead
and or what you can also do. Was this everything?
Well, we have this piece, is just right click and
then just copy the mask. Copy mask. Then go in here, right
click paste into mask, and then right click again, and then just invert mask. I can see that now
that is also fixed. So we got that one.
The only thing that I want to do with this
is I want to go ahead and I want to turn off my concrete that is
sitting at the bottom. And now we have our base wood
selected and ready to go. Okay, so that's something. Now, let's go ahead and say asm. And now let's actually
get started with, like, some of our additional
details and stuff like that. I quite like having the outer sides to be
a little bit darker. I'm going to go ahead and move this like this and make it also, like, a little bit
more detailed. So first of all, this base wood that I have, I feel like it needs to be
a little bit grayer and a little bit a little bit darker. So if I go ahead and go in here, I'm going to get
started with that. So I'm going to
grab my base woot. I should be able to go to color. And here we have
our overall color. And I can make that
one. A little bit, dark or something like this. We're going to also
go ahead and copy this color and just paste
it into the other one. You can see that
here because this is a small material that
we really optimized, it is really easy for us to
like art additional details. Now I'm going to
probably get started by let's start with just like
our base mood that we have, which we are using on most of it except for the main
pole over here. So what do we need for this? If we, first of all,
have a look over here, we have the base wood. I'm going to maybe, like, make
some small changes to it. We need some localized dirt, and we also need, like,
some discoloration on it. That's like the biggest
ones right now. So first of all, what I'm
going to do is, let's see. So that's this one, that's good. I'm going to just in
general. Oh, wait. Over here, you can sometimes
see this happening. What you might want to do is
you might want to just go ahead and hold shift and rotate. And actually, let's also go in here and just make sure
that that is correct. Oh, that one is correct.
So I just rotate it to make sure that my wood is going
into the right direction. Okay, so we have a
large color blending. Okay, that one I don't
really want to use. Grain lightness. Oh, yeah, so this was
like that lightness, but I can remember
that I didn't like it because it just like it
wasn't really localized, so I wanted to turn that off. We have our normal over here, so our wood normal strength can be like a little
bit stronger over here. Our long grain strength
can also be like a little bit stronger just in general. Yeah, let's just
use this as a base. Let's create a folder
that we call dart. And let's just start
slowly adding more. Let's start with
just a OCC dirt. And I want this to be
quite a low roughness. I want this to be
a bit of, like, a like more darker brown
color, something like this. I don't need a
height. I don't need a metal and I don't
need a normal. I can add a black mask and
then we can simply go into our smart masks over here and just scrap
our dust occlusion. And that's what often works
quite well to already, like, add some base
dirt to things. And this time it does the same. This is why it was
important to, like, have our occlusion and
everything working quite well. I'm going to make this like actually a little bit stronger, dirt to get started with. Now, I also want some
general white fading, and I want to have the
white fading a little bit localized around the
edges most of the time. So I'm going to go ahead
and add another fill layer. White fading. For example. And let's make this like pure
white that makes it easier. I'm going to make my
roughness for this. Let's make the roughness
a little bit duller, and again, we don't
need anything else. Let's add our black
mask to get started. And then I'm going to grab. Let's see, which one
would look nice? We have some ground dirt. Actually, I want to add that
ground dirt to the top, but let me I will
first finish this one. So we want something dust
soft edges, maybe that one. Okay, so that creates some
nice fading around here. But then I would
need to break it up. So if I just tone this
down a little bit, so it does definitely
art around the edges, Oh, yeah, this fading
goes in two directions. That's a bit annoying. Let's go ahead and now add a
fill layer on top. Basically, what I'm thinking
about is the direction. So this one might be better
if I first just add it only to my wood over here
and then take it from there. But anyway, let's first of all, break it up and just
focus on this wood here. And once we know how this wood needs to look, then
we can do the rest. Maybe some cop perhaps, maybe this one, charcoal. Let's set the rotation to 90. Let's make the tiling,
like a little bit more. See, you know what
I did I'd want to actually go for like triplanar. One something like that. And now if we just
play around with our see multiply Okay, so that breaks it up quite well. I don't know if I
need something else. Let's first of all, just try. So we have this one over here. Now, if I just go ahead and
then set this curvature. Lower over here so
that we can only just start to see this white
fading over here. So now I would slowly starting to look a
little bit older. Now what I want to
do is I want to get a little bit more of that greenish stuff in here that also just makes
everything a bit dirtier. And also, I was going to
add some ground dirt. You can go to your
OCC dirt and then just go ahead and also
add a ground dirt mask. So we have that one
here, dirt ground. And just set this
one to be Oh, God, that looks Really bad. Huh. Maybe that's
not the right one. Let's have a because there are two of them
here, ground dirt. There we go. That looks a
little bit more logical. I'm going to get rid
of that grinch map that it arts, and then
this ground dirt, I'm going to, first of all, edit it and then just blend
it along with the rest. So first of all, I never
like this grinch over here. Like, it just
doesn't feel right, so I want to kind of just
play around with grinches. I also want to go
ahead and, like, you can set your position
gradient here to, like, lower down the position. Then if you go into
your position gradient, here you want to kind of, like, play around a little bit more like your
brightness and contrast. I feel like let's first of
all, change my texture again. Yeah, let's start with
something that's, like, really heavy, and
let's try again. So we have our position, the top to bottom over here. Oh, no, sorry, not
the top to bottom. I guess, I guess we just need
to lower down the balance. So lowering down the
balance over here, that does start to
art a bit better. Let's play out my
contrast and balance. I just need to get it,
like, not too high. Something like
this. Okay. And now it's just a matter of just going in and trying to
find a nice texture. Can I add triplanar to it? Let's see, texture. Is this the first
one, so triplanar. There we go. That looks a little bit better when it's triplanar. So we got like our
texture over here, and now if we just go
ahead and set this one to probably max Lighten to add
it on top. There we go. Now we have just
something in the base. Okay. Nice. So it's slowly
starting to get there. Yeah, the direction
I'm actually fine with the direction with the white
stuff, so that's good. Now let's go ahead
and just probably duplicate this one
again, the OC dirt. Green darts. So most of this is
literally just going to keep adding darts on that. And then we also have some
random color variation, that kind of stuff. But first, we have this one, and I'm going to go for um maybe surface
rust does something. If I just go to the mask, why does it cut off like that? Let's go in here
and let's see if texture triplanar is true. It's really weird that
it cuts off like that. I guess I can get rid of that, but just in general, I
don't really like this one. Let's see, surface worn. Nah. Subtle scratches
probably wouldn't work. Soft damage. Hmm. I kind of like some
damage, to be honest. I just hold Alt click to
basically go in here. I kind of like the, I
feel like it's too much, but I like the concept of just having everything
a little bit more localized and just
like having it go up and down and all
that kind of stuff. That's quite cool
here. I've never actually used this one before, but I need to, like,
edit it a little bit. So let's start with this. Let's make the color to
be like a like here, this is like the
typical stuff that you often see in wood like
this type of color. I'm going to make it, like,
a little bit more brown. Then I'm going to go in and I'm going to lower down
my intensity of this. And next what I want
to do is, I just want to add a paint
layer on top, and I'm just going to
paint out some of it. So let's see, grab some kind of like a
soft bush, press X. For example, over here,
make it a bit softer. I want to, like, kind of make it a little bit less intense in some of
these areas over here. I quite like having it here
in the side. That's fine. And over here, like at the top. Yeah, that's looking
pretty cool. And yeah, I'm not really paying attention
to the door yet, but that comes
later. Okay, cool. Now, one thing that you always
can really benefit from adding to wood is to have slight color variations
to the actual wood. Now, for this, what I can do is I can go ahead
and create probably like a folder color variation. And then in here, if I
just go ahead and add some fill layers where
I only have the color. And let's say that this
color is completely black. Variation 01. And just go ahead
and duplicate this. Maybe three times. Variation 02. Variation 03. You know what? I'm actually going to
go for maybe, like, a more brownish color that might look a little bit
nicer, something like this. And then what we're
going to do is we are basically going to here. So we have some brownish colors. We are going to add a black
mask to all three of them. And then basically,
we are going to grab a mask and we are just going
to select like some objects. Let's say, like for this one, I will do this one, and I will do maybe
like this back one. And let's say also like
these ones over here. Now, this color variation
is going to be super small. So we only need this in base color so we can use
this intensity input. Is litty just here
at probably like 20 intensity just to give
it a little bit of flavor. I can then go to the next one and I can say, like,
Okay, this one, I want these ones over here, and this one and maybe a
few of these pieces here. And once again, color variation. 20. 20. Then we have this
one, the last one where I can once again say, Well, I'm avoiding the main beam because
I just don't need it. Like I say like this
one and this one, and for now that's
enough. Once again, 20. What you will basically see
is that just in general, you can see very slight
color differences, which makes our wood just a little bit more
visually interesting. Also, one thing that I
forgot is that I need to just also grab a few over here. Because these are actually
the more important ones because they are
very repetitive. So those are good ones to just
give some color variation. Like that. Okay. Nice. So we got those
pieces down over here. Let's see. So we got
some greenish dirt. We got that kind of stuff. I was going to add like
a white variation, and I was going to add
like a heavy variation. For now, let's just
go ahead and just do a quick export so that we can actually see
what we're doing. So that's export. Let's
go inside the marmoset. Okay, so that's starting to
look pretty interesting. Of course, like, take the
darkness and everything, take it with a grain of
salt because in wel, it will probably look
quite a bit different. But this is like a good start. Also, at one point, what
we can do is we can already start setting this up in n reel just to check it out. Now, I will probably end the chapter here because
it is quite long. In our next chapter, we
are going to start by defining our wood materials more into different
types of materials, work more on door, and hopefully I already export this one to Unreel along with some masks so that we can set up and see what
everything looks like. So let's go ahead and continue with this
in the next chapter.
74. 74 Texturing Our Door Part2: Okay, so we got our bases. And now let's go
ahead and start by defining our base wood
a little bit more. So we got this one here, which we use for
these few pieces, and what I want to do is I'm just going to
go ahead and I'm going to deselect
my main wood beam. So the set the
color to black with my polygon fill selection
and just turn it off. And then I'm going to go
ahead and duplicate and just call this 12 above. Boot. H Scov. Okay. So with this one, black mask, polygon fill, set it back to
white, and select it again. Okay, cool. Now, what I was going to do
with this one I was going to make it quite a bit darker and quite a
bit more intense. So that's something
I first want to do. Let's go with the
darkness first. So color overall color, and let's go for
something that's like. And then we also have our
dust color over here. If I just set the dust
amount down temporarily. Oh, actually, it's nice when we set the dust amount
down because it will make everything a little
bit like stronger. So I'm going to make
this quite a bit darker. Now, I need it to be quite a bit more damage.
So let's have a look. Darkening, so that one
does the darkening there. But I'm not so much interested in darkening of our grains. Grain line darkness,
large color blending. I don't know lowering this
to see what it looks like, and it needs like
a second to load. Okay, so the large
color blending does definitely increase things. Let's make it a little
bit stronger again. Something like this
to get start with. Now, in our normals, I'm going to go
ahead and I'm going to increase this quite a bit. So we have a wood normal
strength. Surprisingly slow. Sometimes it can be slow or
it can be faster if you turn off really heavy materials like you have over
here like these ones. I have my normal now. Long grain done intensity, and then we have our grains. Let's see, grain thickness. Grains lines large. I think the long grain. If I just said that one
to be quite strong. And then we have the grain
lines large thinks this one, but just increase that effect. Or not. No, wait,
that's not the one. I think. Yeah, you'll see, so that's just like
for the large lines. Um, Long grain don. Oh, true. So I kind of
forgot that I had that one. So if I said that one true, that should now give me
some quite intense damages. Also, if you feel
like something, like, okay, so here, I can
start seeing the damages. I do notice that they are inverted and that's
something that is a little bit awkward that I
should have given it because Unwel engine
reads in direct X. No, wait, Taxi. Yes, no. I'm not completely
sure if it's inverted. It looks inverted, so it is something that
we would want to work on. But yeah, you can
invert stuff by, for example, going up here,
going to your levels. And if you set your levels to your normal map and then
to the green channel, you are able to
just press Invert, and that will invert
any norm maps. But now that I look
at it, it's quite difficult to even see
if it is inverted. Anyway, we have these
long grains over here. I made them quite strong, although probably make them a little bit less strong.
So let's do this. And what I was saying is,
if you need to make a lot of really heavy
changes quite quickly, you can always go to
your text set settings, and sets want to be two K. And when you sent it to two
K, it will often like, well it will look
lower resolution, but you are often able to, like, render things see
quite a bit faster. So now it's almost instant. Okay, so we have this one. It is quite a bit darker. It has, like, these long
grains that's looking fine. I'm going to have a look
at my collar and dust. Yeah, let's leave it
like this for now. So we got this one. Thinking my roughness, there
isn't much I need to do. I can go at it and
I can press C, just navigate to
my roughness map. But most likely if I
want to art roughness, I will art it on top over here. So we got this
one. Now we can go at and we can turn
these ones on also. So that's already
quite a dark one. That's pretty good. Down here, we also have this
concrete piece. And what I can do with
that is I can pretty much just go in Let's
see my smart materials, and I'm sure that
there's some kind of, like, a concrete in here. That we can use or stone. Can I just type in concrete? No, stone plastic. Maybe we can go for,
like, a base material. So here we have concrete.
Ah, here we go. So concrete cast and concrete. Yeah, let's just do
this one. Like it's not a super important
one. So let's artist. Let's add a black mask to it. And then what we can do
is we can go ahead and we can select the base over here. Okay, cool. So we
got that stuff done. Now what I was going to
do is I was also going to focus a little bit
more on, like, my door. And I quite like how the door has these two different
colors over here. So I wanted to do
something like that. Now, I'm not sure if I want to do the actual
color fading over here, but I could have a look at it. The only thing that is
annoying is that we of course, have this at multiple locations. I'm going to go to
my color variation. I'm going to add another one. So let's just duplicate. Set this to be a black mask and just for now set
this all the way up. And I'm just going to add
if we click on UV shells, we can just add our
inner shells to make them all a bit darker. Here we go. And then we can go ahead and we can just lower this
so that will give us a slight darkening effect
already. Excuse me. Now, for our door, I most likely want see, I got some dirt and
stuff like that. So at this point, I most likely want to
go ahead and go back to force resolution because else, it will be quite
difficult to see. What I had in mind is
that we have this wood. What if I just add
a lighter version of the wood and I can do that
with some anchor points. But I need to probably go in here and let's create
a folder and call this one base colors so that I can reference all of the wood as one anchor point. We have a base colors and I
can just add an anchor point here so that I can recall all
these base colors later on. Then if I go in here and create a folder and call this one a shall I do this for the
door or for everything. Let's call this one. Light blending. This wood
we can use for both here, but we can also use it
over here at the ends. What I had in mind is I can go in and I can
grab a fill layer. Scaled something
like lighter wood. And then in my base color, I'm just going to go
ahead and I'm going to keep using my anchor points, also in my roughness and I don't need a metallic,
I don't need a normal. Actually, you know what? No,
I don't need a roughness. I only need a base color. So now I recalled this
base color in here. Now, I should be able
to use a filter. And set the filter to
only affect the color. And then here we
have a color correct and color balance,
but also color match. Color correct probably
isn't a good one, color balance.
Maybe color match. Yeah, if we do color match, and then Aqua things like
the target color needs to be very similar to
the base color, but I cannot select
the base color. I'm just going to go
ahead and select this on over here a little bit. But this one, what I'm
going to do is I'm going to let's see if I
just go to Yeah, well, it gets rid of
things quite a bit. Mode. Yeah, average is fine. Let's start with
something like this. And, of course, we
are going to, like, add some really specific
planning to this. So it was out saving. So if I go at the
blackball I'm not yet sure how I want this to be. So I want something
that is quite sharp and maybe I want it to be a Let's make it a grunge map and then maybe paint out the stuff
that I don't like. So let's go for a fill. And I want to go for
something that's, like, quite sharp, maybe feeling a little
bit like pain peeling. I know there's one here, but
it's not really directional, but it does have that
pain peeling feel. It's like this one over here. I can go for much more
advanced texturing, but because this is, of course, going to be enhanced with
a lot of other stuff, I don't think I want to do that. For now, let's do triplanar. Just go to move this over here. Okay, so definitely, if I
just play around with it, that definitely like arts some additional color and
stuff, which is pretty good. Now, if I go in and let's say that I actually want to art
this one over here. So let's go ahead and
art the black mask and then just copy the effect
and paste it in here. Where is based effect? Baseeffect. Then in here, what I can do is
I can make this a black mask and now I can just paint in wherever I want
to have this whitish dirt. If I just go for
a sharper brush, you can see I can
then go in here. And then once we've done
that, we can, of course, go in and just improve upon it. I know that this side of
the door didn't really have a lot of those details, so that one is not really
super important one. And also, I see this and that makes me want to
probably place this one below our dirt over here so that it does not
get affected too much. Now, if I go in here, I can maybe make my
brush a bit bigger. Just like in some locations, start adding these details. I want to avoid doing it on
like the really dark wood. But just to get a
little bit of like that stronger color
variation in here. And maybe one thing that I also want to do once I'm
done with this, Just give me 1
second. Here we go. I maybe I want to go in
here and I want to then duplicate this one and just
add this to Max Lighten. And then for this version, just go ahead and move
it a bit so that we have a bit more dort
in certain areas. Okay, so we got this. Like
if you turn it on and off, I do feel like it can be
a little bit lighter, so let's go into
our color match. And just make it quite, let's maybe make it a little
bit lighter like this. And then what we want to do is we wanted to also have this one. If we just go to our boot, we can maybe out like a paint. We also wanted to have
this one in here. So first of all, just
go ahead and just alt click and just see
where I need to paint. So we got this one. This one, let's
also do this one. I feel like maybe for this one, I actually want to use the
artistic headstrong because that one often gives these
really nice sharp edges. That you can see over
here. Yeah, let's do that. And then later on, we also have a polishing phase where
I will, of course, go into my final
textures and polish it because it's quite difficult doing all of this in real time. So sometimes it's just
easier when I like, get a chance to just
do a quick Tnaps and then polish stuff over here. Ah.'s make it a bit
smaller, maybe. Now, you know what? No. Actually, I'm not
going to do that. Don't think it looks good now. Okay, so we got those ends. Oh, wait, there's
one more end here. Here we go. Then if we go
to our actual blending, we are now able to just very
quickly go in and just in these areas paint
in this effect. Then I also noticed that I
probably need to balance. I cos quite a bit more because right now it's not as impactful
as I was hoping it to be. I got this one. Let's
just get rid of the Okay. So we got this stuff. And for now, let's first
of all, just like, see what this actually
looks like inside of, for example, Momset. Okay, so now we definitely get some of that
lightness in here. I think what I'm going
to do at this point is I'm probably going
to go ahead and start switching over to unreal
engine so that we can have a proper
looking context and just balance
everything out there. I feel like these
assets are a little bit too big to properly
preview inside of Mamoset and we had
some problems with things not lining up exactly
the way that I wanted it to. So what I'm going to do is I'm going to go ahead and save, and I can remember that we already created a wait 1 second. Let me just move this here. I can remember that
we already create a SMAT material that was
specific for our masks. DHRM mask? I think
that's the one? Or not. We can have a look.
First of all, what we need is we have
over here base calls. So we were going to go ahead
and grab User Channel zero, which is going to be
our um, Slice mask. This one will be quite
important because it will dictate the directions
of our wood later on. Slice mask, R dirt. And this is also why it's
good to have a template, which we'll also use
later on for the rest. G, highlight B, Hafnes and a Ms we probably don't need
any moss on this one. So we now got stuff,
and now I just want to I have a feeling
it's this one, but I'm not completely sure. Third, highlight
roughness roughness? No. Let me just quickly
open up my stair paint. And then we can have a look. Yeah, yeah, yeah, I don't care. Just open it up. Oh, yeah, DHRM mask and array.
That's what I called it. This one seems outdated, so let me just go ahead
and delete this one. So we have our highlights, and then over here we
have our roughness. I don't know if
this one is moss. That's the problem,
I will call it. Moss. Moss roughness edge
highlights base array. Perfect. Let's go
ahead and just create a smart material by
right clicking on it. Now what we can do is
we can go ahead and go to our base wood, let's save this scene so that the name change stays
and then over here, this is one where we
can just already, place the basics and
then take it from there. So our array selection. I'm going to go ahead
and go for wood, so I can just go ahead and
make this a white mask. And this is what I
can also turn off. So this is mostly just
going to be wood. Or do I need to make it black? No, white, of course,
because it's a mask. It's not a gradient. And then we are going to go ahead and
have a look at that dirt. So our dirt over here, it was mostly painted by
hand. Yeah, I don't want it. So let's get rid of that.
So here is just like some additional dirt that
is fine to have for now. Just the art, we are going to
improve it later on anyway. Then we have our
edge highlights. Yeah, I'm also fine with that. Then we have our
roughness variation, a roughness variation, I want to go in and probably lower it down a little bit more. And I also want to go
in and just, like, get rid of this really weird, harsh edge that we
have over here. Oh, like that. And if you want, you can
actually also go in and you can maybe paint in
some stuff again. So if I go for
something a bit soft, set the flow a bit lower. I'm not using my
drawing tapt right now, but you can, if you want. Ah, set the flow a bit lower. Yeah. Let's start with this. Like, I might look a little
bit bad, but it doesn't. It's not that impactful. So that's the roughness
variation, and then the moss, I'm going to go ahead and just
make it black. Okay, cool. So we got this mask also,
and we can just, like, have a base now because
we just need something. And now what we can
do is we can go ahead and we can
stop by exporting. At this point, I'm
going to delete the stuff that we
exported before. This time, I'm going to go for my JP tutorial asset and then just go ahead
and do an expot that should have
everything in it. So if we now go to unreal, it's going to be
interesting to see where is my. Here we go. Okay, so textures. Let's go ahead and
do main scored door. In here, I'm going to
make one texture that's called Let's do base. Wood. Just dragon stuff that we have, and we can input it because our norm map comes from
substance painter. We do not need to invert
it or anything like that. We do need to go in and actually
make sure that it's not a normal map and turn off SRGB. I always forget.
Yeah, turn off SRB. That's correct. And was
there anything special here? Default? No. And a base, which also like default. Okay, so that's all fine. And now we can simply
go to our materials. Let's grab, for example,
our stair 01, duplicated. Main door on the score. Wood. Let's go ahead and open it up, and let's start by dragging
in all of our stuff. So we have our base color. We have our DHRM. We don't really have a moss mask for this one and our norm map. Our moss mask is
supposed to actually be because I don't know
what I did with this. I made it let's make it. Huh. Interesting.
It is set to black. Yeah, a moss mask
is set to black. Maybe because I'm inverting it, so I guess I need to actually
set this to white, then. Would be a bit strange,
but not like it's a really big problem. Oh, M one. I'm just gonna close this
because it's in the way. DHR reimport. No, there's something
here still. So if we go ahead and go
to our Ms mas strength. So we have found a small
problem that we need to fix. Actually, first thing is here. We have our DHR is linear color. That might be the problem.
Let's go ahead and set SRGB off and try again. Doesn't seem to fix stuff, but it looks like I
also don't want to so I want to probably set
this to black after all and give this one more try. Import. Okay, now it seems to work. Yeah, so that was the problem
that we had SRGB turned on. I'm going to go ahead and
open up my main door wood, and I'm going to start by
applying my material to this. And what you can do
is unfortunately, when we have Nani turn on, I don't think we
can Oh, no, wait, we can sort of isolate
it and highlight it. Not highlight it,
but isolate it. So it's like the first one. So let me just
drag this in here. Nice and have a look. Okay, so you can see that here, the wood is quite a bit darker, but also like the normals and everything
read a lot better. We do have some
problems over here with our weight normals,
which I'm going to fix. But in general, this is
already reading quite nicely. So yeah, this is quite good. I would say that
actually our wood can be a little bit lighter, it is something that we
need to balance in general. One thing that you can do just because everything is
looking a little bit darker. And I also need to balance some other stuff. But
let's go in here. And let's first of all, just go down to our tone
mapping and set the exposure. The cama little bit
darker, like this. And then what we can
do is we can go into our base colors and we
can go in here and then color and just like
pushes up a little bit. Doesn't seem like to do much, but on a way, there we go. These ones, yeah, yeah,
that does do a lot. I was just looking
at the ng one. This one is going to be
our rough wood vertical. I gets a little bit darker
or a little bit lighter, I mean, so something like this. And this is going to be just
our normal horizontal wood. Okay. And then the rest
was concrete. Okay, cool. Now, over here, I'm also
not a fan of this stuff. So what I'm going to do is
I'm just gonna go to my dirt. And then here we have is
this the color variation? No. It's down here. And we did like a color
match. I'm not sure. Like, I want to make
it like quite whitish. But then of course,
the rest is also a little bit too intense,
which I do not want. So most likely what would be
best is if I duplicate this. Let's go ahead and just
duplicate this one. Lighter wood underscore 02. And for this one, let's go ahead and have only the grunge. And then for this one,
have only the paint, which means that I should be able to just make
this one a little bit brighter, like this. And then this one I can just I'm going to make it a
little bit brighter. Just to make it stand
out a bit more. Okay. Now, for this one, we have our paint and also
some stuff that I do not like. We just go ahead
and go to artistic. So it's a bit lower. Press X is that we go over
here on the site and I want to keep the wood the same
color in most of these areas. Yeah, there we go. Just
doing this quite quickly, but you get the point. Okay, so let's
have another look. So over here, like our wood, I like it is like a much stronger wood
also than the rest. I kind of want more
of these lines, and I should have
an option for that. I swear that we built it in. So vertical, and it was
maybe in our grains. Grain lines large? No. Long grain ardon is true, but you would think if I
have the long grain ardon that like long grain
add on intense, that it would also add
these long grains, which is a bit strange. Let me just quickly open up designer and then
have a look at it. And while that is opening
up, let's have another look. Oh, it's already
opened. That went fast. Let's see. Here we add
those long lines, yes. Tile generator? Do I maybe
control it in our Oh, really? I seriously don't art it. That's a rookie mistake. Um, how will I add this? I'm not sure I want to add it in here because
then I would need to reload everything while I can just go in and I can
just remake it here. So I might just do that. I might just
literally go in here, make a quick layer and just call this damaged lines or
something like that. I'm going to go
ahead and just turn everything off except for my color and height
and roughness. Let's make my
roughness quite dull. Let's make my color quite dark. Let's make my height go
inwards a little bit. And then we can just
add a black mask, and to this, we can add
a simple fill layer. And then we can kind
of go in here and just see what we can use. Also, we have some actual
wood grains in here, which kind of funny,
as you can see. But yeah, we don't
need them anymore. We went ahead and
made our own thing. I don't see anything here, so then what you can do is you
can just go ahead and grab a tile generator because
they also have them in here. And use this when
it's like a base. And then if we go
for our patron type, we can make the square. Then if we go into our patron, we can set the What is the
Y axis. Quite a bit thin. Then we want to go in our pattern transformation,
scale variation. I will set the axis or the Yaxs. Yeah, let's set the
Y axis a bit up and maybe all the play around a little bit more
with your scale. And we need some offset stuff. We need a random position, random X and Y. There we go. I also probably want
to go in and can I make this as like a triplanar? Rotated. Okay, so
that one is here. And also rotate it this way. No. Window, rotated. Which way this way over here, just to make sure that you
get all lines like this. Let's have a look.
We have this one. You can go ahead
and also give it some free rotation random. Also one thing that
you can try to do is you can try to
set the patron type to be not a gradiation,
but 1 second. I need to look at it here. I can do an image input, maybe, although I've never actually
used image input here, so I have no idea where to
actually input that image. Oh, down here. And I was
going for like a gradient. Gradient like this one, where tables on and off. And then I can
also see instantly that my stuff is probably
the one way around. Although I can do rotation
90. Yeah, there we go. But yeah, it's still the one way around where we need to go up in the top patron
transformation no way, taxi. That one is still
correct. Yeah, I guess it's just like
the scale X and Y, which is no longer here. Oh, scale the scale goes away because we are
now using this one. I did not know that. In that case, so we
have a scale variation. Well, that's a
little bit annoying. Um, let's set our Y number
just really high 256. No. 512? No, 1024. Okay. So we got that stuff, and
we have them quite long. Now if we go in and we have
a random offset position, now we want to just
go into a mask and then just throw
down our random mask. And if we now go ahead
and go to our material, you can see that now we
have those long lines. And, of course, now we just
need just add something. So let's go ahead
and add a filter to, like, I don't know, warp it,
something to break it up. Let's also do like slop. And that this the min. Is the intensity,
quite a bit lower. Intensity divider,
ten. 1 second. Let's go to the source.
Make our source tiling a little bit
smaller over here. Okay, so that adds some
very small damage. And now, if we also hopefully have some kind of like a warp, and let's see which
warps do we have here? Just a normal warp.
I can't remember. We had one more, okay? Owner weights. I can
remember that in the warp, there is actually
a option in here. So we have default noise. Yeah, actually, default
noise should be fine. And then we have our swtling. Et's make that one
not too large, and then we have our
intensity over here. Okay, so we got this
stuff now ready to go. The last thing that I would
say is in my tile generator. So we have a random mask. Do we happen to also
have a random color? And that is probably a little bit unfortunate that
there is no random color. Oh, wat here, luminance.
I knew there was one. Luminance variation
color contrast. Let's set that quite high.
Let's just double check. Yeah. Okay. So press M again. So that one is now quite high. So now we get quite
some decent effects already where we can use. And now we can very
easily also use our no mask to add more or less. Now, having that finally done, the next thing that
I would need to do is I would need
to, of course, have this only on
this beam over here. So it might be nice
if I just add it to this one to a folder,
large score beam. We can also go ahead
and just copy our mask, add a black mask and then
just paste this one in here, and then we have a
damage line so we can just like nicely
place them on here. So now they only happen
in that area. Okay, cool. So we got that stuff
now also done. Now, let's have a look. So in general, I don't want to make it
too dirty and stuff. We got this stuff going on here. Yeah, we got some dirtiness. If I just go ahead
and quickly export it and see what it
looks like now. And then also in
here, we can also play around with our
shaders a little bit more. So I grab the stuff
and re import. Oh, it once again, does it messes it up
because Oh, wait, it messes it up because I
have turned this one off, so make sure to just turn on our mask when we export because else it
cannot see the mask. And else it will become
a really mossy door. It still makes no sense. Do I have something connected
in here? Yes, I do. My base color needs
to be turned off. Now it will work. Re import. Okay. Awesome. So, we now have these pieces. Let's
have a quick look. And yeah, so this already, I like the colors right
now. They feel quite good. If I go up close, you can see the wood that
we have our micro noise, it is going in the
wrong direction. It will work, for example,
over here over here, you can see that this
works really nice, that even up close, everything is just
super high quality. But that is something
that we are going to work on in our mask later on. For now, I'm just
going to ignore that. I'm going to have a
look just in general, what this looks like and if there's
something that we want to add or remove. I think we got a really
solid base going on. Just having a look over here. Like most of it, it's just going to be adding some details, which I will do in like
a polishing chapter. And also, what we
also want to do is we also want to work
on the direction. I know this has been
a long chapter. I'm going to just one last look, I think for now, I'm going
to leave it as it is, but it is not done yet. It is just done enough.
Let me say it like that. What I'm going to do is we have our array taxes over here and in here we have
our slice normal, and in number three,
we have our wood. Now, what I'm going to
do is I'm just going to go ahead and if I just open the source location of this wood and then also open up Photoshop, then what we can do is we can go ahead and just go to Image, Image rotation and 90. Now, most of the time because I'm rotating a
normal map 90 degrees, it might break in terms
of the direction. So over here, so if I
go green red image. But the thing is that
because one sack Okay, yeah, it looks still intact. Most of the time the differences that were
like we might want to invert our green
channel, like fix it. But in the wood, it's
so difficult to see. I now inverted the green channel just by
pressing contra I, and I think that
should do the trick. So if I now save a copy
and call this wood 02, array, and just
simply save this. This is then the
one that we can use to simply have our wood
a little bit flipped. So we import this in here. We double check. So default, default, SRGB turned on. So it looks like there's nothing
else that we need to do. And then in here, all that we need to do is
for our horizontal pieces, I need to have the next one. First of all, in
our slice normal, go ahead and add your boot
02 array under the wood 01. And what it will do
is it will save, and then it will reset my SRGB, so I need to turn it off
again and then save. And now it should be as simple as going
inside of painter. And then over here we
have our slice selection, and we have this wood, which is overpowering
everything at 0.12 50.250. 0.125. I thought metal
came before wood. Concrete metal boot Wood. Hmm. If concrete is zero, one, 250.25, that wouldn't
really make much sense. I guess because I make
everything white, it is already fine over here. Let's say that we
have this wood, and then this one needs to
be wood on the score 02. You can of course also import or you can look at
your gradient map, which I have here. And as far as I know, so if I go ahead and go in here, so wood or concrete is zero, Wood number one. And
wood number two. Yeah, so that should be
we can just try it out. I'm a little bit confused here why that metal was
set to that one. So anyway, 0.125. This one is going to be 0.25 because it will be double it. And having that one done, what I need to do is
I have my base wood, and in my base wood,
I'm just going to go ahead and deselect. I even alt click. I'm going to deselect
this beam this beam, this beam, this beam. And this beam and let's
also do this one, but then let's re art, UV, let's re art these pieces. Over here. Okay. So
that is correct. I want to go into this one. In this one, I just need
to go ahead and make the default black mask and then simply go in and then just select
these pieces again. But this time, make them, make them white. So it's these ones,
the side ones. That's it. Okay. Yeah, we got that and now we can just go ahead and
see if it actually works. So if we go ahead
and export this. And then we just need to make sure that we have
everything set on the correct gradient position. So this one should be
fine. So we can just go in and grab our base boot, right click and reimport. You can actually get rid of
the moss mask if you want, because we don't need
it. And let's see. Now, this one, yeah, is showing the wood going up, and this one is showing
the wood going sideways. Perfect. So I'm not
sure why metal. I think the metal was literally
just in the w position, but because we never had
something, it was fine. Over here, this one is
still showing my grains in, like, the wrong
direction, actually. But the reason it is most likely the case is because
something that I forgot is that these directions, they are dependent
on our original UVs, and we have been
using triplanar. So that's just a little mistake on my part that of course, I cannot trust these UVs. I need to just simply look inside the painter and trust the raw UV lines. But that is something that we
can do in the next chapter. For now, I think we have something pretty
solid going on over here, as you can see, need
some polishing. But let's in the next chapter, let's go ahead and then
fix our grain directions. Oh, and also, by the way, we have a door over here. You get ready. Throw your main
door in here. There we go. Okay, so a couple of things
that we are going to fix is we are going to fix
our main grain directions. I also want to add some
small improvements to my door just to make it a little bit more visually
interesting because right now it feels very similar
to everything else, and I want to make it
stand out a bit more. And once that is done, we
will kick in the time maps, and we will also just,
like, do the bottom roof, and we will also do that one. And after that,
what we will do is we will start working
on the roof ties. So let's go ahead and continue with this
in our next chapter.
75. 75 Texturing Our Door Part3: Okay, so let's go
ahead and continue. Now, the first thing that I'm going to do is I'm
just going to go ahead and work on the
direction of the wood. Most of this, like, Wow,
that's really heavy also. Most of this, we don't
really need to record it, I would say, because
it's quite basic. So basically, what I want to do is I just
want to go ahead and create my mask a
little bit different. If we just go in and
grab something that has, like, grains, oh, I
cannot do it like that. Let's create a
film a fill layer. And then ter the grains. And just only turn on the
base color like this and just set this to 20 or
something like that. That may be a little
bit too much than ten. Now because I can see
the grains, of course, what I can do is I can now
just create a mask using this. If I just go ahead and
probably start with a white mask and just
get rid of everything that basically has grains
in the wrong direction. Then what we can do is we
can simply copy this mask to our wood and then invert
it to our other wood. So I do recommend that if you can see that your
entire object is wong, then you can just
go ahead and go for a object select and do this. However, if you
can see that only part of your object is wong, then what I do recommend
is that you just do a UV. I will just go ahead and I will just basically have
everything that goes in the right direction
so it follows our shape. That's the one that I
will go ahead and select. Like this one over here,
you can see that this one, it is wong on literally every single direction,
so I can get rid of it. This one is also wong on
every single direction, but this one here is white. This one is on, and do make sure that you look
at it all the way around. Now, I'm sure that you
kind of know what I mean, so I'm just going to pause
the video until this is done. Okay, so that is done. So as you can see, now we
have all of the directions. So this one is going to go up. Sorry about that sound.
That was my microphone. Anyway, this one
was going to go up, and if we just have a look, so our original one, it is going up, and then the second
one is going sideways. So let's actually close this because I keep getting
confused with designer. So what I can do
is I can go ahead and I can copy this mask. And then this one
because it goes up, we want to have the first wood. So let's go ahead and in here, just like paste into mask. And then all I need to
do is in my wood, too. I can also go paste into mask, but I just want to
go ahead and I want to right click and
then invert my mask. There we go. So that should do the
trick for those things. With that all being done, and this one we can get rid of. We should be able to
do one more export. That was three years,
Max. Sorry about that. And then we can go ahead
and go in here and we can just right
click and reimport. And let's have a look. So
I did it wrong way around. Of course. That seems like
something I would do. Let's just go ahead
and go in our array, turn off the levels here, and then just quickly like
invert mask, where are you? Here. Style it again. Export. Yeah, Willy feels like something I would. R impart. And I also want to get rid
of, like, those storm lines. But now. Yes. Yes, yes. Nice. Finally. Okay, cool. So we got this stuff,
of course, like, we need to do some
balancing with it, but we will do that in a bit. First of all, let's get
rid of those really dark lines that we
have over here. I guess it is because, actually, yeah, why would it
have those there? Now I think of it. Um,
we have over here. Wait, our large beam
is not doing anything. Now it is doing it. So it
was literally not activated. I just happened to not
have seen anything of it. But just double check. Okay,
so now that one is working. Okay, so our door, I was not really happy with,
like, from a distance, like over here like they got started is using light to
basically indicate the door, but you can see that dog is also the door is
also a little bit darker and a little
bit more gray, and over here, you
can also see that. So I think I do want to ty and also do that with
our entire door. Now, could I just literally add some another
layer of darkening? That would be the
easiest way of doing things going my color variation, duplicate this one and
just make it a black mask. And then for this one,
I'm just going to literally select the
entire door, everything. So I'm basically using this
to just move everything down, and let's make this also,
like, a little bit more gray. Let's see, so here, so
we are making the door quite dark and dull like this. Now, maybe it would be nice
to like like a little bit of brightness in this
also. So we have this one. If we now go in and art, maybe like something
like a surface worn. Now, what will most likely
happen is that the surface worn will actually replace
our original mask. So but I was hoping that I never I actually almost never do this where I
like, multiply it. Or I basically said,
like, we subtract. Subtract, but making sure. That does work, but not
the way I wanted to. Let's grab something different. Maybe like actually, I like the soft damage one.
If we just go in here. And so if we set this
one to be a multiply? No, subtract. Yeah, let's do subtract.
And let's see. So we are basically
subtracting this, which means that it actually becomes lighter in those areas. I don't want to have a subtract. I guess it is
multiply after all. So I want to have,
like, a multiply and I want to just go ahead and, like, kind of push things
out a little bit more, maybe with my embitclusion, or just like with
my global balance. Okay, so I want to do
something like this. And then I had the idea to
just tone it down a bit. So here you get some
slight color variation. And this is actually quite nice. Like, we have done it a
little bit over here also, but it is quite nice to
have some darkening. So seeing this, I
might want to go ahead and also add it but a little bit softer
to these areas. So if I go ahead and just,
like, duplicate this. So this one was variation for this one I will
do door darkening. This one, general
Edge darkening. If I just go ahead
and for this one, I'm going to make a black mask
and I want to do this with really large pieces of wood,
like those pretty much. Let's not do that one,
maybe this one over here. My idea was to
basically now have this and then once again
do the soft damage. And if I just go
ahead and go in here. So the soft damage, it does get a little bit too distracted by
the amid seclusion. You can tone down your amid seclusion and push up your
curvature a little bit. And then kind of play
around with this until we get something that works. And what I was going to do with this one is I was going to, let's see. I was
going to set this. Actually, let's
keep this one 100%, but let's lower this
one. Here we go. I feel like the edges are still a bit I need to make the
edges a little bit wider. And you can also
play around with your curvature to
make it more or less intense and your ambit clusion to add some
interesting variation. Let's add some slight darkening. I feel like I want to go, a little bit like
this, probably. And if you want, you can
also then add a paint, grab like a slightly soft
brush. So it's out of saving. And if I just go ahead and, here, I can now, like, paint this out, or I can even also paint
this in a little bit, which makes it a bit softer. Just to add some additional variation to this
specific piece, just because I felt
like it was not yet the way that I
wanted it to be. Okay. Awesome.
Yeah. That's cool. So we got that stuff
also done. Let's see. Is there anything
else before I want to just start moving on for now. We got our green
color over here. I want to probably let's
make my green colors and my dirt a little bit
stronger and maybe also make it a
little bit brighter. Here we have our green. Let's make it a
little bit brighter. A let's go into our color and just increases a little bit like this has been wood that has been standing outside
for quite a while. It's inside of the forest, so the forest would also
add a lot of stuff. And then also here
we have our dirt. Just go to also increase
that a little bit more. There we go. Okay,
cool. So we got this. Let's hope that
it's not too dark, and else we can also
balance that stuff out. So for now, let's export. And then we can also check, like how our dirt and everything is responding because we
have our main wood. So yeah, here, that's
looking quite nice. Is this it almost feels
like I need to invert it. Although I'm not
completely here, does it look like I
need to invert it? It does, does it? This
one was Wood 02 array. I'm going to close it for now. Let's open up Wood 01 and 02. I feel like if I go
to the green channel, just contra I And
let's save that. Let's go in here. Here we
have our ray textures, boot one and two, reimport. And then, most likely, Okay, so it did not I can
just quickly save it. Yes, that feels? No, not. I don't know, people. I feel like one of them. I feel like maybe
this one because we invert it before wood number two needs to
be inverted back. Let's try once more. Re input wood number two. So wood number two is this one. Let's for now, just keep it like this and
we'll see how it goes. So anyway, we have
other these textures. That's looking already a lot better, so I quite like that. Now, our doors are also Are they Did I
really import everything? Because our doors are
still quite bright. Now, yeah, it has
the darkening in it. It's just, like, not as intense. Um, I'm probably going
to make everything, but my doors a
little bit brighter. Now, what you can do is you can also do some quick balancing. So if we just go ahead
and make a folder, cold. Quick. Balance. And in here,
if we just go ahead and, um, main wood balance. And for this one,
I'm just going to go ahead and create a black mask, and then I want to
basically select all of the main wood, everything
except for the door. And then in here, if I just
go ahead and add a Actually, I can probably use
the base colors. Yeah. Yeah, I can add a fill layer that's
just on the color. Make the color, still
our anchor point, our base colors anchor point. And then if we just
go to luminosity, we can go in here and
we can push this out. Oh, no, actually, no,
we cannot do this. The reason we cannot do
this is because then we lose all of this
stuff unless we have the quick balancing below
everything else, like this. Only then we can really do this. But that should be fine.
Call this wood lightness. And I was going to
go in and just make the entire thing a
little bit brighter. And I will see how if yeah, this star over here, we can
probably go in and let's see. So we have our light
blending, which is this one. And in here, I'm just going
to go in and do this. Okay, let's go ahead and
export that once more. And then it should
be ready to go. For now, I will go in and just do some balancing
probably later on. Yeah, for now, like that
it's looking pretty good. So we got something pretty
decent, ready to go. Yeah, I would say that works. And then what you can also, of course, do is
you can go in here, but we will do that
in the end and we can set change our textures, maybe to like 1024. And you can see that it still reads quite well even at 10:24. But we do need to still pen set this to zero because there's a bit more balancing
that we need to do. And one of the balancing is
that I just want to quickly make sure that my
dirt and everything. So here I can see the dirt. Okay? So the dirt is working. So if I just press cancel, Um, where are you dirt? Mask strength. Okay, yeah, yeah. So we got
our dirt our highlights. I want to probably
go ahead and, like, make that a little bit lighter. Maybe a little bit dark, Roxie. And we also had our roughness variation for which I can go to my buffer visualization
roughness, and I can go in here
and then set like my roughness variation amount. Maybe I want to give
it some shine to it instead of some dullness because everything is
already quite dull. So that just gives us
some interesting shine. Yeah, especially here, like
the wood is really good. Okay. Nice. Let's go ahead
and keep it like this. For now, we can save sine. And what I will do is I
will just quickly kick in a Tinaps and in this Tinaps I will basically
save this texture. So we can already do that now where you basically just want to go ahead
and create a folder. JP Underscore base wood. I can go ahead and place
everything in here. And then I can
select the base and just convert this to
a smart material. And it's just so that we can reuse this wood and everything on our roof piece, which I'm going to go
ahead and create now. Oh, so let's go ahead and
kick in the time labs and start by creating our
additional roof piece.
76. 76 Texturing Our Door Part4: Okay, so we got our base wood
pretty much done right now. It still needs some balancing, but that's something that
we're going to do later on. As you can see in
the Taps last time, I also just went ahead
and very quickly created the wood
here in the center. Now, what we're going to do is we are now going
to go ahead and start working on our
tiles over here. And for that one, we want to mostly follow like
this reference over here. Like nice shiny tiles, not this shiny because
they are wet in here. So like, slightly less shiny, but just like nice color
variation in here. And nice roughness variation, and also then like some extra
dirt and stuff like that. So that's mostly the plan. Now, if we just go ahead
and go to painter, we can go in and
create a new scene. And we can just keep it at
the JP tutorial model scene, which is like a template from this one that
we created before. And we can go ahead and go
for a roof tiles paint. Yes, that's the
one that we want. And now we can just
go ahead and press. And yes, you do
want to save this. Now, this one might take a
little bit longer to load in just because it is
a really heavy asset, but it should still run
inside sub sprinter. At least I better
hope so because else it will be a
little bit annoying. But for now, this should
be fine. Here we go. See? So it does just like run and
paint and stuff like that. It's not that
difficult. And what I'm going to do is I'm going
to get rid of this layer. I'm going to go ahead and
call this one roof tiles. And then in my
texture set settings, I just want to go ahead
and bake my maps. So let's go ahead and
go to bake mesh maps. And we can just go
ahead and we can grab our position curvature and
seclusion normal wordspace. I want to go up here and four K, use low poly as high poly. Yeah, that's all looking good. So let's just go
ahead and press bake, and I will pause the video
until this one is done. Here we go. So now we can just press return to bacon mode. And now we have some nice
embitoclusion already going on. So that's looking pretty good. Okay, so first of all, what we want to do is we
want to start by just working on our base
material over here. As you can see,
the base material has a little bit of bumps in it, so it is actually not as smooth as it might seem over here. And for the rest, what it
looks like is it looks mostly like just blending
between various colors. Now, some of this
blending happens actually in like
a localized spot. So we can also try
to art that to it. So let's get started
by first of all, creating a base folder. Base ceramic. Over here. Now, what I'm going to
do is so I can always just ceramic type in
just make sure that. Yeah, you see, so we don't
really have any ceramic. So we are just going to make
it completely from scratch. The first thing is going to
be like some base colors. If I go ahead and just call
this one, the absolute base, what I can do with
this is I can go ahead and turn off everything except for my color and roughness. So for my roughness,
actually, for my color, what I'm going to do is what
I'm going to pick a color. I'm just going to pick a color
from my reference image. Something like this looks like a pretty decent base color. Maybe make it a little
bit less purple. And then what I'm going to do is I'm going to decide
on my roughness. I want to make my base roughness a little bit shinier
because we are going to have so much stuff on top that like some of that
shine will kind of go away. Now what I want to do is I
want to go ahead and I want to create another layer, and this one is
darkening square 01. And with this one,
what I can do is I can go ahead and
I can just choose like a much darker color. Okay, let's not do that. Let's Ido that. Let's
actually just manually. Select the darker color. And this color, I'm also
going to probably change my roughness a tiny bit just
to add a little bit extra. I'm going to then a black mask, and I want to basically add
two things to this color. One of them is a
fill layer, and one of them is a generator. We're going to get started
with the fill layer for which we are just going
to grab some kind of, like, pretty generic
looking grudge map. And I quite like the one which was like here, the charcoal one. So I can just go ahead
and plug that one in. Maybe use triplanar just to make things a
little bit nicer. And scale this down, and then also play around
a little bit more like my balance and stuff so that it only shows up in some places. This one it's a
little bit too noisy. So let's try let's
try this one maybe. This one is too localized. Maybe we can use Grunge
map 013 for this. If I just use that,
oh, wait, that's 014. Sorry, 013. And if the play around
like, yeah, yeah, here. That's actually a
pretty good one. That will just give us some general localized looking dirt. Now what I want to do is now
I want to grab a generator, and I want just something
with mostly just etches, No, maybe this one that we
had the soft damage one. Let's go ahead and just
hold Alt and click. Okay, so the soft damage
one and this one, it well, it does work, but it's a
little bit strong maybe if I just play out my
global contrast. Then over here we
have a grunge map. Maybe if I choose something
that's a little bit less No. I'm just trying stuff out. No, that's all too noisy. This one, grunge map 014. That one might
work a bit better. If I now go ahead and
just set this one to be a art, probably. There we go. So now we have, that additional color
sitting also over here. Okay, so that creates just some darkening
and stuff like that. Maybe I'm going to make
the color a little bit. Now, you know what? Actually, I'm going to leave
the color because I keep making that mistake
that the colors inside of substance paint they are a lot less strong than
they are somewhere else. Okay, so we got
this. Now what I'm going to do is I'm going
to start, first of all, with some nor map detail, and then I want to go with
some roughness variation and then maybe another color. But I need to have a
look. So nor map detail, we can go ahead and
create a fill layer. Normal detail. Then for this one,
I'm going to only have my height turned on. I'm going to probably
bump this up a little bit so that the
height gives me some bumps. Most likely, we can
just go ahead and create a mask with a fill layer. We just want something that
looks a little bit like this. You can see just slight bumps
and it honestly reminds me a lot of the what
are they called? Not the fractual sums. I forgot B&W spots. Maybe this one. See? Got to admit, that
feels pretty close. I just to save some memory. I'm going to just set my tiling. Let's set the
tiling to like two. And I want to also play around a little bit more with
my contrast and my balance to make sure that it's not
happening everywhere. I'm probably going to add
another fill layer on top, and this one will be
like on a multiply, and I'm going to grab like
a grunge just to blend out some of this damage. Maybe if I just use, like a
crunch cop wraps over here. Maybe more like the charcoal. I can also always have a
look just by Alt clicking. Okay, so the charcoal does remove things
bit. Pretty good. Plus M. But of course, what it also does
is it also creates some Like harsh cuts. Maybe if I just lower down
my softening. Let's see. Without With, okay,
something like this. And then I'm just going to go in and I'm just going to make my height a little
bit more subtle. Let's do like 0.00 0.015. Over here. Okay,
so we got those. Now the next one was going to be just like some
roughness variation. So you can make another
fillyer variation 01. And for this one, I'm going
to have only my roughness, and it's going to be quite a
bit duller. At a black mask. And I want to have this
roughness variation. Let's try now the soft damage. Just go in. Yeah, so the soft damage is
like really strong, so I do want to kind
of, like, go in and just play around
with my balance. In contrast, here we go. And now if you press C, you can switch cycle between them. So this is my roughness now. And if I just go ahead
and make my roughness, like, not as intense, but it's more like
that when we look at it from a distance, we get some interesting
variation to get started with. Okay, so we got something like this right now. If
we just have a look. So over here, of course, yes, we have quite
a bit of shine. I'm going to mostly just
check that inside of unreal. I do feel like we still have some of that shine
going on right now. On thing is that the colors
are a little bit off also. So I'm just going
to have a look. Like other ones like here, we can see the really
classic gray ones. So I kind want to try find a balance between these
two because over here, you can also see that a
lot of the stuff is gray. So I'm probably going to
now temporarily switch over to a different reference and just make this balance
out these colors a little bit more to be a
little bit more grayish, not completely, but
just a little bit. And also, what I
probably want to do is, I probably want to
make my shine because I did not expect it
to be this strong. Just like a little bit
less on both of them. Okay. So we have
something like this. Now let's go ahead and
let's add a bunch of stuff. So first of all, what I
want to do is I want to add probably some lightness
and stuff like that. So let's do another folder. Called dirt. And I will
start with edge, lightness. And I want this to be
only in the color and in the roughness, most likely. So yeah, the color can stay fairly white and the roughness can be a
little bit more shiny. And I can just go ahead
and add a black mask. So if we have a
look, we want to go for maybe like soft edges. Where are you? Dutch dust
soft edges over here. That gives me a curvature. Yeah, that looks
quite interesting. I I make it a little
bit stronger. And over here, I
have a grudge mad that kind already fades out. Most of the stuff
It's still too much. I'm just going to go ahead
and add another fill layer. I'm going to layer on
another grunch map, maybe 01 and just
set this to be like a multiply and maybe set dining
to like ten or something. There we go, so that
breaks things up just enough for me to go in here and to basically in
mostly my base color, I'm just going to lower
down the opacity. That's probably best.
Like this. Okay. So the next one that is going to happen is going to be
probably an OCC dirt. So I can just duplicate this. OCC score dirt. This one's just going to
be like some brownish, quite darkish and dull dirt for which we are
just going to use the classic one dust
occlusion over here. Yeah, you can see,
like, funny enough, it actually fits quite well with this that we can barely
see the difference. So I want to probably go
in and see if I can maybe, like, make it a little bit more brown,
something like this. Over here, these ones
are always like plaster. They are not really
part of the tiles. So what I'm going to do
is I am going to go in and quickly grab something like, I know some kind of plaster or Can I not have
concrete plaster plaster? No, that's plastic
maybe in my base. Plaster. No. Concrete. Um, Come on, show me the thumbnail. Yeah, let's just start with
this concrete over here. I'm just gonna go ahead
and set it to black mask, and then I'm going to select
this piece over here. And then what I also want
to do is in my ceramic, I want to just go
ahead and create a white mask and make
sure to turn off. So just add the black, turn
this one off because else, the no maps start to interact,
and I do not want that. So, this one is going to be like a pretty white color like this. It's going to have probably
well, we can have the height, but I'm just going to switch
to my height channel, and I'm going to set the opaste super low so that it only
has, like, a little bit. And I'm going to set
tiding to maybe like five, just to make it or ten even. Just to give it a little
bit more texture, and it set the height
even lower over here. Let's start with
something like this. So now we have a bit of a base. And the next thing, what I'm going to do is I'm
just going to give it like a slight bit of color variation. So let's do color variation. And I probably have like
one darker and one lighter. So let's start with number one. Lighter. And for lighter, I want to go in and
let's grab my collar. Let's go to our base
ceramic. 1 second. I will actually do
this. Let's drag the color variation down here. So we have lighter, and
what we need to do, sorry, just above it is add a anchor
point to our base ceramic. And then in here, we
can just go ahead and we can recall this anchor point. But this time in luminosity, we can set this a
little bit lighter. And if we also go ahead and duplicate this and
call this one darker? You guessed it. We want
to set this one a little bit maybe with the
middle slider. It's really sensitive this one. Darker. Then just go ahead and create a black mask
for both of them. And then we can go in
here and we can just select a bunch of
different tiles. We can also go for darker. Then quickly, first of all,
see what it looks like. Yeah, see that adds
some nice variations. Let's just go ahead
and continue by just clicking randomly and a
bunch of these tiles. Won't take too
long. There we go. Then over here, we can do the same where we
just randomly click. I's fine if one is
accidentally overlapping, it's just about the randomness. I'm literally just clicking
in various areas like this. And now I can always go in
here and say, Okay, I want, some of these to be
stand out even more. And then some of
these I want to be like sending out
less. There we go. Okay, so as you
can see, one thing that I've been
doing is I've been increasing the color differences a lot more than you
would see in real life. And this is because I'm already anticipating that inside
of unreal engine, the color differences
would not be enough. So there would be like
this slight difference, and that's what I'm
trying to kind avoid. And basically having
this one done. One thing that I also do like
is that there's some kind of like lightness
variation in here, also, and just some
general highlights. But I think those highlights,
they are kind of, we already covered
those probably in our here edge lightness. So for now, let's say
that we are going to go ahead because
this is starting to already look pretty cool. Let's say we save this. Oh,
wow, we didn't save yet. Groove, tiles,
ceramic. There we go. Now what we need is
we just need like that smart material
to add on top. So let's go in here, and then we have our DHRM. Let's throw this
all the way on top. And then what we need is we
need for a ray modifier. I think most likely what we'll be doing is we will
be using metal. So let's set the wood
and concrete to black. Now, this metal is now 0.25. However, I want to
set this to 0.2. What was it 0.25? So, 0.375? 0.375.
Basically, 0.25 plus 0.125 is 0.375. Yeah. Yeah, so that looks great. I'm not good with mat. Okay, so we have our base over here, and that already
shows the base color. Oh, let's just switch
this to base color. Then over here we have our dirt. I'm just going to
get rid of, like, the paint level so that we
have, just some base dirt. That's fine for now.
Like I said before, like we can edit this later on. Highlights fine.
Edge roughness fine. And then moss, I want
to go ahead and set to white because remember how
that was, like, flipped. And then now we can just
turn off the color, and we just have
like our base mask. So we can go ahead and we
can save oops, I seen. Also, one thing that
I did on the weight, of course, we used our template, so this should still
all be correct. Yeah, yeah, this is all correct. I'm just going to
go ahead and export it and just see
what it looks like. Let's go ahead and go into
textures, assets, main door. Main door Tiles. Select folder. We are going to go for our
JP tutorial asset and Tager. Next, let's just go
ahead and have a look. So if we go here, we
have a main door. Right click Tiles and I'm
quite excited to see this one, although I have a feeling
like we need to do quite a bit of additional
changes to it, but that is no problem,
of course, to do. So roof tile is
normal, turn off SRGB. This one, turn off SGB, make sure that it doesn't import as normal,
which it did not. I'm also just going to go
ahead and close some of these things because
I don't need them. Tick, Tick, Tick, and tick. Next, we can go to
materials and just duplicate like our main door. Wood main door on the score. Tiles open it up, drag in your textures over here. And I can see that my
moss is still warm, so if I just quickly
go in here and just set my moss then
to black, I guess. Reimport. Okay, fair enough. I can remember that
we had to switch it, but maybe I was wrong. Now what I can do is I
can just go in here and I can go to my front, back, and top trim. And all three of them, we can just apply this one material. So front or top trim, B, and our front. Oh, and also our
what is it called? This one, the don. Sq ahead and also use
that one, done. Okay. Now what I'm going to do
is I'm just going to go ahead and open up my
main door tiles and also make sure that my base
roughness is pretty decent. So base roughness power Okay, so one is pretty Yeah, it's well, it's pretty decent, but something I think
it's like the moss. So let's go ahead
and just quickly go to our buffer
visualization and roughness. I know, like the
base is pretty good. Maybe I'm going to
make that a bit. It's at 1.2. And let's see, we have our roughness amount. That one is fine. We want our roughness
variation strength. Okay, and of course,
don't forget that we still need to do
lighting in this scene. So take it with a grain of
salt what we have right now. But that's looking pretty
nice to get started with. Let's have a look at
it from distance. Yeah, the only thing is
that, but I'm not sure, it can be because
of the lighting. Like, there isn't
really a lot of, like, roughness
interest in here. So I can see like some
of the shine over here. But I do not expect it to be like this because
this is just wet. But I did want to, like,
just give it, like, a little bit of,
like, overall shine. So I think right now,
I actually added too much different color
variations in here. So I need to balance that
one out a little bit, and I need to just play around with my roughness
and stuff like that, just to add more. And then later on we're
also going to have little leaves and stuff in here. So I would say that right now, this is a pretty solid
point to start with. What I'm going to do is I'm going to go ahead and
in the next chapter, I'm just going to do an
intermediate polishing chapter. And what I mean with that is I mean that I'm going to before we add our metal details because I know we still
need to text those. I first of all, want to just
polish and define my tiles, and I want to also
define my wood. This is something that
will be a time naps because I need some
time to probably, like, sit down, think about it, and not need to worry about
speaking every single moment. So that's something that
we will do. And once that stuff is done, I
will narrate over it. Then we will go ahead and
continue on with our metal. And then we should have our bases really well
defined so that we can literally reuse
these materials as smart materials on all of
these additional pieces. So then we don't have to worry
about that stuff anymore. So let's go ahead and continue with that
in our next chapter.
77. 77 Texturing Our Door Part5 Narrated Timelapse: Okay, so I kicked
in the time laps. So what we're going to do
now is we are just going to go ahead and improve our
tires a little bit more. So with tiles, it's quite
a bit of back and forth. What I'm doing now
is I'm just playing around a little bit
more like the colors, trying to get a
more subtle color because I found that having
the tiles so different, it was a little bit
too much, basically. Now, there isn't too much
that I have to say in this, but I will still,
like, narrate over it. Most of it is just balancing.
That's what often happens. Like in our real time chapters, I always make sure that I lay
down all of the groundwork. So that after that, all that
we have to do is we have to balance it to our liking,
and that's pretty much it. So over here, what I saw in
my reference is that most of those outer ends are
a little bit darker, so I just selected those. And here you can see that
I'm just trying to have a look and see what
I can do to maybe, like, enhance just in general, the shine and the
color of my shape. And I do sometimes, like, simply go back and
already have look at it inside of UnwelEngine. Now, as you can see over here, you can also see that I
just made it a little bit lighter because it was
a little bit too dark. So basically, right now, I'm just like having
a look and see how the reflections
work on our tiles. And later on I end up
doing a few more tricks, but that comes literally
near the end of the course because
at this point, I already completed
the course and everything's looking
really nice. So over here, I still feel like the dirt was a
little bit too strong, so I'm just toning it
down a little bit more. And I just keep exporting
because I first of all, want to define this before
doing anything else. And yeah, over here,
like I decide to go for something that
was just a little bit more subtle rather
than something that's really over the top with the different calls
and stuff like that. So that's what you can
see me doing here, just trying to, like, create a slightly nicer
balance over here. And then over here,
I'm just keep looking at different types of reference to see what I want to do and how things look and
everything like that. And now, basically what I'm doing is I'm adding
a little bit of sharpening just because
and I do this to my dirt. Often adding like a little sharpen modifier
to your dirt does actually like the little bit of extra crispiness that you
sometimes might be missing, especially when you're
working on, like, a lower resolution type map the adding that sharp is
a good way to just fake it. You cannot do it too much, but it's pretty good. Just do it a little bit. And over here, I'm just adding
some additional types of dirt and just
balance things out. Here, what you can
see is what I was talking about it a
little bit more before. I'm enhancing it even more to have those darker
bits near the end, because in real life,
it seems like the ends are quite often a bit darker. And over here, what you see me doing is that I'm
actually going to add a little bit more
fine norm map details because the details
that we have now, they are quite large. So I just want to go in and
just like something that's, like, really, really soft
and really, really fine. Just like that extra little bit, and you can see that even
art is sharpening to it. Yeah, that extra little bit
of bumps and stuff like that. And it's something that should be just subtle in
the background, so don't make it
too overpowering. But having those
norm map details, it will catch the
lighting a little bit. And there you can see
that I also go to, like, my older non Mbitas
and stuff like that. Over here, what I'm
doing, actually, is I am adding some edge damage. So it's just a nor
Mbita, but this time, I basically select my edges, and then in my height map, I just cut those
edges a little bit, as you can see over
here, which will just like some very
fine edge damage. It is something that you
can use to kind of, like, mimic the brush sculpting. Of course, not as
good as S brush, but if you have a
lot of shapes and you just need to add some
very quick edge damage, it is quite good
solution for that. And for the rest right now, I'm going to start
working on our leeches. Now, we already went over
on how to do our leeches for rocks over here. You can see that I just use the same crunch me
that we used before. I add my leeches.
I place this into a folder with a black
mask so that now I can just grab a brush
and I can basically paint in wherever I want
to have these leeches. And I mostly paint them
near the outer ends. I feel like that would be
the most logical place to have them because that's where all the water and
everything is dripping off. So you would think that's where the wet spots
and everything are. And just in general, it's just like a nice
bit of variation. So I'm just trying to
add that here and there. I do of course, like, a little bit in the center
just to have some variation. But it's just like a
nice little detail, hving these small little
leeches and stuff like that. And in this case, it
can also be considered like just general dirt from
birds and stuff like that. So I think that will look
quite nice if we add that. And I'm also adding a little bit of that green dirt that we also added to our
wood over here, because in my reference,
I see it a little bit, but we do not want to
make it too overpowering. It's like, very, very subtle, just because you would
imagine that they would not clean these roofs quite often. So here you can see that I
literally just like I grab a occlusion dirt and I just very suddenly add a little bit more of that green dirt just
in, like, certain spots. And here I'm just balancing
out my mask for it. And I keep checking
inside of reel engine. That's also an important
one that at this point, I don't really use
marmoset anymore. Like I keep checking
it in real engine to make sure that
it looks correct. And for the rest,
I'm here just like balancing out some of my like array detail
normal strengths. However, this is something
that we're going to change later on so you
don't really have to worry about it right now. It was just me
checking some stuff. And I'm adding a little bit
more lightness variation to, like, the top bit, you can see over here, just
to see what that looks. And in the end, I end up
making it a little bit less strong because it was a
little bit too overpowering. But let's not just
forget the top. Now, over here, I'm also making those a
little bit darker, and that's just like I'm
just following my reference, so there isn't really
much to say over here. Now, at this point, what I'm going to do
is I'm going to go ahead and switch
over to my wood. However, over here, I'm
just using the built in tools to basically balance out my roof tiles a little bit more in terms
of the lightness, because when you open up the base color
inside of rung and, you can just set the
brightness a little bit. It is something I don't
try to do too much, but it is a good
solution to just, like, very quickly add some very small
balances if you feel like everything needs to
be a little bit lighter. And this is also something
that I'm now just quickly doing for all of
the textures that I have. I'm just going into textures, and I just play around
a little bit more with my brightness to
balance everything out, because often in
your base color, you want to have your
base color to be quite bright in general. Like base colors are in general, like, quite a bright texture. So that's something that
just need to work on. Over here, I'm
basically just like, because we have concrete
in our slice mask, so I'm basically just
applying concrete to like that bottom because right
now it is set to wood. And I mostly just like
checking my reference, seeing whatever will
look interesting. I'm going to start by just
adding some additional dirt. And right now I kind
of want to try and get that balance between the
edges and the centers, and I want to kind of make
my edges and everything a little bit darker to bring
out those centers a bit more. So over here, I'm just adding something I literally
call it center darkening. And I just placed like
interesting mask in this that mostly like in
like the centers, it will basically mostly
mask out the edges, but it will leave
the centers alone. So that's basically what I'm
now playing around with, trying to find a good mask. If you ever see a seam, don't forget to just
turn on triplanar to basically avoid that seam, feel free to always use
your own textures or use different grunges like this until you get
something that you like. In my case, I wanted
to get something a little bit more
softer like this. And then it's just a
matter of adding this to a folder, and this folder, I will add a black master
to so that I can then paint again where do I actually
want to have this stuff? And I just manually paint in the areas where I want to have
some additional darkening. Does that have to
be super precise? Just like a little bit here and there to add some
extra darkening. And over here, once again, I'm just adding some edge
damage in the norm map, the same way that I
did in our tiles. I just add like with only
the height map activated, I just basically add
like an edge generator, and I just lower down and just play out a little bit
more with those edges. Try to break them
up a little bit. That's not like one even
bit of edge damage, but it just adds that
extra tiny bit of detail, which will be interesting
for our wood. And I keep checking everything
inside of in wheel engine just to make sure if everything is to my liking and
stuff like that. And right now, I'm
going to focus more on the door because I feel like I'm just not happy yet
with our door over here. Now, because most of
the door is going to be just me painting by hand, what I will do is in a bit, I will just go ahead and kick in some music because I'm
currently working on adding some more of
that white residue that you can often
see with the door, and it will just take a while to actually
paint it all in. Over here, you can see I'm
doing a few color variations where I just like
slightly change the colors of the panels. And after that, I will
work on that white dirt. So I will kick in some music, and I will go ahead
and just play that out to have some of
that white dirt. And then later in this chapter, I will still come back just because we are also going to
add some additional detail, and I just wanted to go
ahead and narrate over that. So here you can see that I'm
just preparing everything. I'm adding a custom
paint lightness. That's what I'm calling it. And in here, you can literally
just paint in the mask. So yeah, at this point, just grab a nice brush, and as you can see, and
let's kick in the T laps. Okay. So the painting is
pretty much done now. And all I'm doing
here to finalize off this chapter is I'm just adding some more additional dirt, mostly around the outside, and I'm trying to really push this stuff to make the
insides a little bit lighter. So I'm just trying
to find, like, a nice generator that
we can use for this. Over here. And sometimes it just takes a second to find
something that you really like. And that's a problem. Like, I want something that's
really like occlusion. I do not want something
that masks out the edges. I want something that just masks out wherever the
occlusion is and then, really pushes that
effect a lot further. So over here, I'm
just now playing around a little bit more like custom grunge maps to see if I can get something that looks a little bit interesting. And I'm starting to get there. Like, slowly, I'm starting to
get something that I like. And in the end, I
actually decided to turn this into center lightness rather
than edge darkness. To be honest, forgot about that. So what I'm doing over here is I'm just deselecting everything
that is not my door. And just doing this, like,
because I felt like, else, my door was going to become too dark now that I remember it. So here I'm just
like adding some additional lightness to, like, the centers and stuff like that, which I think will look
quite interesting. And for rest right now, I'm just checking out my dt
and all of that, making sure that I did not forget anything
or something like that. And then I can
export and reimport and just once again,
double check my work. But we are pretty close
to finalizing this. I'm mostly just like
checking my reference and making sure if there's anything that I happen to forget
and stuff like that. But in general, here, I'm just tweaking my array
texts, and that's about it. There isn't really much
else that I'm going to do. I'm just looking around, making sure that
everything looks good, that the reflections look
good, all that kind of stuff. Maybe balancing out by
roughness a little bit more to just bring a little bit more
of those reflections out. And at this point,
let's just go ahead and continue on to
the next chapter.
78. 78 Creating Our Metal Details: Okay, so as you might have
noticed in our last chapter, is we just went ahead
and we did some balancing on our tiles and
on our wood over here. Yeah, that's something
that sometimes I just need a time nap to
properly do that because I cannot really sit down and properly think
when I also need to talk about a lot of stuff. But as you can see
right now, we have, especially so up close, we have a much higher
quality texture over here. And also with our wood, everything's like
a little bit more defined and a bit more
balanced, which is good. Of course, lighting matters a huge amount in
your environment. So when we will do
our proper lighting, then we will probably need to do another balancing phase
where we are just, like, slightly
making alterations. But anyway, so for now, the last thing that we need to do is we just need to go ahead and texture our metal
pieces over here. And then what we can do is
we can start doing this on all these pieces over here, although most of these pieces are all going to be modular, so it's not as much work as
that this one was probably. But anyway, metal pieces. Let's go ahead, and
for the metal pieces, we have some really good
reference over here. I am going to make them
slightly less dark because I know from experience like if
they are this dark, it will just not look as good. I'm going to save
this one New scene, JP tutorial model scene is fine, and then we have our
metal details over here. Just go ahead and
press. Okay, so yeah, it's pretty much like wily scratched up metal that has also some around where we have our
I would say our curvatures, there is darkening going on. So that's something else
I want to try and get. And over here, you can also see definitely like the bolts
are slightly darker. There's also slight bits
of rust here and there. That's something that
I will see if I am going to add that because
it's quite subtle. We might do that in
just a polishing phase. So yeah, metal details
is actually a fine name. I need to go down here, and I need to just bat my mesh maps, use low polis high polis, select all of these
maps and bake. Nothing too special.
It's also here to just double check to
make sure that we do not have any weird arrows
or anything like that. But it seems to all look fine. So let's return to
our painting mode, and let's go ahead
and get started. Let's get started by just like our base metal and
it looks like yeah, we have a base metal, then we have a darkening metal
that we will add on top, and then we will have scratches
that will on top of that. I do see multiple differences
in our scratches, these are a little
bit more yellowish, so we can definitely
do that and maybe blending also some
more darkened colors. Let's get started
with our base metal. And for a base metal, I'm
going to first of all, because there are many
metals that we have in our default smug
materials over here. So I can remember there
was like a steel dark. I can't remember
there were, like, some good metals that
we can use here. Yeah, I got a bunch
of metals here from J OTools the same guys
that made this reference, but I will try to avoid using those else you would need
to go in, buy those also. I definitely has some nice
rust and stuff like that, which would have
worked quite well. But we are going to
make it by hand. So these are custom. Yeah, so we really need
to go here. Let's see. Steel steel dark age
might be pretty good. Here we have some steel
stained. Steel ruined. Uh, I don't know. Let's first of all,
look at this one. Okay. Then have a
look at this one. Okay, and then we have
our steel dark aged. Oh, that one, definitely not. I think the steel scratch is
like a pretty solid base. So let's go for steel scratched. Now, I want to go ahead
and I want to lower down my norm map intensity, which looks like it
is in the steel base. I can just go ahead and probably I need to
go to my height, and then in here, in here, I can lower it down a bit. And what I'm going to
do is this one I'm also going to make a
little bit duller. So if we just go
ahead and go in here, and set the roughness value and also set the norm
map to open Go. But yeah, let's tone down our roughness value a
little bit. Over here. It is a bit interesting that
we do not have control over our color in this
one. That's weird. But I mean, we can control our color by just
adding probably like a filter. Set the filter only to be color, and for now, we can probably just get away with an HSL note. Or maybe we should
do a color match. That might also work well. So color match,
and let's go for, like, a slight bluish. Doctor you can also try
and pick your color. Tone it back down a little bit. Okay, so we got this right now. I'm still not happy
about the roughness. I kind of want to,
like, lower that down a bit more
because this metal is, like, it's really old, it's really dull, all
that kind of stuff. And also, one thing that we
need to keep mits over here, like we got that metal
sitting around these areas. But that's a little bit
tricky to do because these pieces over
here are separate. So we can just like in our
case, are going to, like, localize roughly
around those areas, some darkening and
take it from there. But anyway, so now let's go
ahead and we have this one. Let's see, we have our dirt. Yeah, I can keep that
and our sharpening. So if we throw this one in our base metal, we have
our steel scratch. Now we are going
to have our steel that is sitting on top. And for that, I can
probably just go ahead and just do a
simple fill layer. Let's call it darkening and just turn off
all of these things. So normal, we can
turn off metal. It needs to stay metallic, yes. It needs to have quite a
bit of darkening over here. And I want to set my
roughness to be a little bit lower
to get start with. And then let's start with
the black mask, and we are, first of all, going to add some darkening around the edges. And then what we want
to do is we want to add some overall darkening that's quite randomized, like
you can see over here. And after that is done, then I'm going to go ahead and just, like, paint in some
additional darkening on top. So one s let's change my microphone to make sure you guys can hear me well. Darkening on the edges. For that, we can
probably go over here and do an edge damage. Strong. Let's try fabric edge. Fabric edge often
looks quite nice. So we just go in here
and then push it out. Okay, so that one
really does not want to overstep the edges, but I need something
that kind of oversteps those
corners over there. Edge is strong,
maybe. Okay, yeah, that does add that
does add like a start. Let's start with Edges strong, although there is some small
arrows in here which Oh, hey, I've never even
noticed that one. But let me guess. If I just go to C and just
switch between the maps. Yeah, I don't know if
it's maybe it's an error. Oh, no, it's in our dirt. Let's just get rid of this
dirt over here. There we go. Willie? Oh, it's probably, like, our embitolusion
probably has, like, some mess up going on over here, which is causing the problems. Yeah, that might be it. For
now, I'm gonna ignore it. I'm first going to just
like my base material, and then I will just
paint it out in the end. So that's no problem. I just want to focus on this. So we have our darkening
going on over here. Now, if we go ahead
and maybe apply a surface maybe not
a surface rust, maybe a surface worn on top and just set this
to be max lighten. Mm. Like, I want to add quite a bit of darkening
and then take things out. Let's play around
with my ambiclusion. Let's try something like this. And maybe have a look if we
have some kind of, like, a nicer looking grunge
map that we can use. No, that's too noisy. And also don't forget that
you can just play with this. I think this is like this
one is a pretty good base. If I do this, and let's
go into text show one. Okay, triply was turned on. Maybe play around to the scale
to make it a bit smaller. Here, because it
already starts to add a few of those
scratches there. Also, over here, you can
also see some problems with the abide glusion
where in the end, I did not place it far
enough away from each other. That's like the stuff
that I was talking about. It's also good that over here, like we do already automatically get this
darkening in here. But yeah, here you can see like this is starting to look
quite close to this. So having this now
if we go in and add some additional just paint and just like paint some
custom stuff in here, Yeah, this one looks
just grab like a brush that looks quite
good and just kind of, like, try to paint it in areas where you roughly
know that you are going to have your bolts
and stuff like that. You can, of course, also
import the one where the bolts are already,
like, located, but then you cannot
really do your Ao baking, so you would first of
all need to, like, do your Ao baking maybe in
a mom set, for example. So there are many ways that
we can play with this. For now, I'm going to just do this because it's
often good enough. Don't forget, even if it
doesn't look perfect now, we can always break
this up and I'll apply additional scald sketches and stuff, which we
will do after this. So I'm going to do this,
and I'm also going to go ahead and make
this really large and just like set my actually,
let's do a different one. Large and set the
flow different. Because I just wanted
to like art a bit more. I don't like this one.
This one is too soft. Let's try something
that's quite sharp. I think these ones are
like scratches and stuff. Yeah, this one, just to compensate for that ambient occlusion problems that we have. Gonna add this. Okay. Now if I can just go back to the
one that I used before, which was good, I think I already forgot
which one it was. Well, I can just
use the one that I used before,
which was this one. That's also fine.
It's just about getting some of those
darkening in here. And I'm really someone
who likes, like, first place all of the bases, like place all my notes down
so that it's ready to go. And only then I'm
going to go in, do a bunch of balancing. So that's why I'm never really too worried
if something doesn't look right instantly
and stuff like that. Make sure the tops look good. So we now got
something like this, and now if we just
go ahead and add another fill layer on top and just at this
one to be a multiply. We can now go in, and
there are a bunch of really nice scratch
alphas that we can use. Going to my reference one
sack because it's moved. Um Here they are.
Scratches rough. Yeah, probably scratches
rough is probably the best one. So let's do this one. And, oh, maybe not multiply. Let's have a look.
Subtract, probably. Place, multiply, divide,
darken. There we go. Subtract. Okay. So
we got these ones. Now I can go ahead
and just, like, play around with my scratch tiling. Oh, it's not really doing what. There is one that's
like a grudge. Like, this one is
like the generator, but the generator is not
really doing what I want. Well, I can try it out,
so you basically want to, like, mostly like
boost up your scratch, dirtiness and your dust
intensity to, like, add some additional damages. Scratch quantity is one. Can I not go higher than one? Two? No, I guess not. Let's see. Scratch width. Let's make that a bit bigger. Tiling a little bit bigger
and width again a bit bigger. Scratch dirtiness, we
can probably move up. Okay, so this one is definitely not like there is
another grudge. I'm sure of it that applies
some more stronger scratches. But I'm just checking it out. So we have this
one. Now let's go ahead and just maybe
add another one. What we can also do is we
can quickly type in scratch. Then I get all of my scratches. And then maybe here, let's
do a fill layer on top. And let's just drag
some of these in. Because often what you
can do is you can, like, play around with
your balance to kind of, like, get it to work. So if I do like a triply
projection for this, that is scratches, but
I just want to see if there's one that's here, if I invert this one, this one might work. Yes. Not the one that I
meant, but it will work. So if I go ahead
and set this one also to subtract,
here, there we go. So that starts to look a little bit more
like what we have here. I do want to also
implant some of this greenish stuff
and just like some different colors.
So I got this one. Now, I feel like that
the overall grunge behind it is a little
bit too strong. So let's just click below it and then add
another fill layer. And this fill layer
is just going to be a general grunge just
to break up the shapes. And let's try, for example, charcoal and once again,
set this to subtract. You can go ahead
and just do, like, another triplanar on it. Okay, charcoal definitely
isn't a good one. Here, let's try concrete old, and then concrete I'm
also not a huge fan of. I'm just wagging some stuff in. Yeah, this one is quite nice. Which one did I pick? I picked a grunge concrete pink leak. Oh, I think I actually
made that one. But don't worry. You guys
should also have it. Like, I made it for Adobe, so it should be in there. Okay, so we got
something like this. Now I want to go ahead
and I want to make my original steel a
little bit better. So first of all,
let's go in here and just play out my roughness so that we not
exactly on one line, but there is a little bit
of, like, a difference. And then if I go
to my steel base, I can go to over to my
column match and go for a little bit more
of like a bluel. Actually, I feel like I need
to go quite a bit lighter, and this is just because
I know that in real, everything feels a
little bit darker. So then I want to probably also go in here and
just make this one. Et's start with
something like this. Okay, so now I'm
going to go ahead and I'm going to probably
duplicate this one. And just call this
one green scratches. And what I want to
do for this one is I want to go ahead and I
want to go in here and just turn everything
off except for our crunch scratches,
which we created. And this one I can
just a to normal. Just move it around
a little bit, and then over here in our color, we can go ahead
and just actually, now, let's also
have a roughness. Let's make the roughness
a little bit lower. And let's go for a
little bit more. If I just color pick like these yellow greenish scratches like this. I quite like that. Something like this.
And then I just need to break this up once more. So we just add another
fill layer and grab some kind of grunge
to break up the shape, maybe 01 or something. I want to set this
one to multiply, set my contrast up quite a bit. And maybe tie it to like five
to make it a bit smaller. Let's actually go
to my not five. Let's do three. Here we go, see? So that just adds some breakup. So we got that one now done. I feel like the metal below it, we have the steel base. What I probably want to do is
I probably want to go ahead and duplicate the steel
base and just, like, very slightly change the color, maybe make it like a
tiny bit darker and then add a black mask
with a fill layer. Just like I need some additional color variation blow there. And then we can just go
for something that's, like, like grunge
dirty or whatever. Yeah. Let's just go
ahead and alt click. Okay, definitely not that one. Maybe this one here,
plasa faded and then just go ahead and just do like a triplanar
and just kind of like something like this. Then if I just go in and again, just make the color match
a little bit darker see, it's just to get some additional
color variation in here. Now it slowly starts to look a little bit more like
this, so that's good. So we got those scratches. I'm going to go ahead and
just duplicate this one. Duplicate layer and just
call this one u's do white. Let's go ahead for
some white scratches. And what again, like, just grab your scratches, move it around. Grab your grunch map. Oh, wait, over here.
That's normal tiling. And I want to kind of, like, just in this one, you can also just change the
offset a bit to change it. And the green scratches,
I want to have a little bit less or the white
sorry, white ones. So I'm just going to make
this like white scratches. Maybe set this tiling
to one that they are only certain
spots over here. And then I'm just going to
go in and for this one, I will just like lower
down the opacity of the one below it to make
it a little bit less. But there we go. You can see now we have a
pretty solid base going on. What I also want to do is if I just go ahead and
look at my roughness, base color height roughness, I quite like having
that little bit of shine that we have
on these pieces. So I'm just going to go ahead
and this is my base metal. Now I will go ahead
and go for like, and in my dirt, I'm
going to first of all, do some classic
ones like OCC dirt. And then I want also
another one later on. Wait, actually, I
will use this one. So OCC dirt is going
to be in our color, roughness and metal
this time. Duplicated. Call this one. Highlights. No, wait, not
highlights because we are adding a lot of
darkening to this. Roughness, variation. Duplicate again roughness. Highlights. Let's see what else
do I want to art. I'm probably going to
keep the rust for now. I might want to do some manual
painting on the corners. Actually, I do quite like
like having that Russ, but let's just make it
a little bit different. Let's do like red coloring
or something like that. If I just go ahead and
turn this off and start with my OCC bust. To go into my material mode. So for the OCC dirt, we want to go ahead
and just grab like some dull bownish dirt. Make the roughness
quite dull. Black mask. Just go into our smart masks and grab a dust occlusion over here. This one will mostly just
like work in these areas, not so much in the other ones, so I'm just going to
play out my contrast. You see, it's just like to
add some dirt over here. And also, what I want to
do is, I just want to quickly go ahead and
add a paint layer, press X, and just paint
it out in these areas. That's just because
our occlusion is a little bit too close. So I'm just going to go
ahead and paint it out so that it gets compensated again. Then we have our
roughness variation. For roughness variation,
we can just go ahead and turn on our roughness, and let's set this one to be let's maybe make
it a bit shinier. Of course, the
roughness is way more sensitive whenever we are working with something metallic. We add a black mask
and then just like, I think I just want to go
ahead and do a normal fill. I'm not going to use a
generator or something. And then I'm just going to
grab like maybe this one. Let's go ahead and triplanar it. And then I just need
to go in and just, like, play around with
my roughness too. Let's go press that I can
actually see. Here we go. Just like slight
roughness variation. Now it starts to look a
lot more like metal also when never the
roughness hits it. Roughness highlights
is quite easy one. I want to make it quite shiny. Add a black mask, and this is just something
I want to paint in. So I'm just going to go in
here and I'm going to go for, like, quite a basic soft
brush, for example. And just in these areas, paint this in because
this will just, like, catch really nicely with our lighting whenever we paint
in this additional shine, and you can already
see it over here, even when it is
substance painted, which doesn't have
the best lighting. So we got that one, which
is looking quite nice. Now I'm going to go
ahead and just, like, duplicate this and call this
roughness on the score. Edge. Underscore highlights. Make it a black mask,
and then for this one, we can just go ahead and grab something that
has, like, edges. We used one before, but this time let's do
like Edges dusty, for example, Alt
click, so you can see. Oh, that's actually quite nice. Maybe increase the C again, balance and contrast a bit more to make
it a bit stronger. But that will just like well, when we have weighted normals, because we don't have
those on this one, right now, but that's
something we're going to fix. That will just like apply some additional details
to that one also. Now, I wanted to make these
ones a little bit darker, although specifically
these ones, I wanted to make a
little bit darker. So what I can do is
I can, first of all, create another fill layer, call it darkening, turn everything off except for the base color and make it black. But black mask and then
simply select these dots. And then what we can do is
we can just use our paste. So make sure that you
select base color. Use your paste to basically apply some additional
darkening to them. Yeah, let's do 25. And I don't know yet. I don't think I want to add darkening to these ones because we
aren't really using them along with this. At this point, it would actually
be good if we save sine. So let's do this Base door
uncle metal score details. And let's go ahead and save. Okay. So we got those ones done. Now, I was going to go ahead and maybe some additional rust on our edges and
stuff like that. I call it red coloring,
but let's delete that one. And then let's instead just like type in the rust in
our base materials. And just grab like well, I downloaded some rust
over here from text.com, so I can have a look and see
what that one looks like. Because you can also
download these for free. Or maybe I shall just
use a default rust. For now, let's just use
the default rust because we're only going to use it
very slightly in the edges. So what I want to do is I
want to make it quite a dull, darker rust like this. And for the rest, I can just do a black mask and basically, so I want to have
it catching up a little bit more like
the tops and the edges. I quite like what
was it this one? Yeah, I quite like
this one over here. I'm just going to go ahead
and copy this effect. And then in my rust, I'm just
going to paste the effect. I'm also for this rust, I'm
going to turn off my height. I don't really want to
apply my height to this. So I quite like this because it also catches up on those areas, although it's a
little bit strong. So if I now go in
and maybe, like, increase my contrast quite a bit and then tone
it down a bit more, Okay, maybe low down my
contract a little bit. And I just want to, like,
tone down the entire thing. So it's just like some
very subtle rust etches. Maybe also play around a little bit more
with my color here, make it a little bit
more desaturated. I make it a little bit stronger. And then what I'm going to
do is I'm just going to add one additional
paint layer on top. And let's say that I just
grab my artistic heavy brush. I can then go in and press
X to go to black collar. Oh, hey, actually, maybe
this what I will tone down. But there's more here
to tone it down, but actually, the generator
does a really good job. So I'm actually fine with that. Gonna make it a little
bit less, maybe like 60. But for now, let's
say that now we have our base rust or base
metals and everything done. So let's go ahead and put this. The first thing that we need
is we need just as always. DHRM, but we don't really need a lot for this
specific thing. So if we go over here, we want to go ahead and
just set the metal to white and remove
our wood and concrete, our metal was supposed to
be something else 00.375. Yeah, that was it because
we moved it around. Then we have our base
over here, our dirt. We can go ahead and get
rid of our paint layer. Yeah, just like some
tiny bit of dirt. If I just go ahead and turn off color or edge highlights,
if I just al click. Yeah, we can do that
roughness variation. Let's tone that one down. And our moss was going to also just be a normal black color. Make sure that in your base, you turn off the base color because else we do
not properly export. Save scene exportextis and texts assets main door main
unscoed door, unscoed metal. And, of course, these
ones like we have quite a few textures
for one single door. We are going to lower
down the texts, although I want to get a
new metal detail norm map. We are going to lower
down the textures, but also we are able to
reuse these textures. So, we are able to reuse our roof textures and everything,
all that kind of stuff. So if I just so this one will not just be used for a
door. Let's export this. Let's go into unreal. And let's go ahead and
just apply our metals. So we're going here main
door metal details. Let's move this over here, and I can just go
ahead and input it. Now, our Noor Map
can turn off SRGB. Our DHRM can turn off SRGB. And then if we go to materials, let's just do the
main door tiles probably let's just call this. Main door metal details. And just write all of
this stuff in here. Okay. So, having that one done, we can now go in and select our main door.
Let's open it up. Select our metal details, and let's just press this
little button over here. Okay. Let's close this
and let's have a look. Okay, so the base metal
is looking pretty good. As I said before, I will like, I'm going to make it
a little bit shinier, but I want to first of all, just play out with my
roughness in here. I can press contra D because that's my shortcut
for the roughness. Okay, so it is pretty shiny. It's my metallic
probably showing. It's not metallic. Did I not include a metallic
option in my entire thing. I did not include a metallic
option in my entire map. I completely forgot about it. However, these pieces, because they are
specifically metallic, I can in this case, I can get away with of course, you can just plug in
a map if you want, but I can get away which
a scale parameter. That is metallic that I
can set to deft zero. So because literally everything in this metal is going to Oh, no, wait, not everything
is going to be metallic. Okay, so I need to do this. This one is not very difficult. Like, it's like, similar
to just this mask, but we don't have
any space anymore to add stuff to our DHRM mask. Although we could use our moss, but that would not be clean. So instead, what I'm going to do and I'm going to
go and paint her, I completely forgot about this. That's interesting. I guess because I was so
focused on the wood. And then we can go to
our JP tutorial asset and just add a very simple gray. And we call this one. Taxi
set the score. Metallic. And also the resolution
of this one can be very, very low because I just needed to assign where I want
to have metallic stuff. I just drag in my
metallic in here. Let's go ahead and
export that again. And our feet go into reel. We want to first of all, import our metallic metal
details. Here we go. Let's just double click it, and let's turn off
SRGB because we don't need a metallic
map to have SRGB. I'm going to now go in and
just like direct this in here. And let's do a static
switch parameter. I called this has metallic map. And if it is true, we will use our map, and if it is false, we will use the metallic value, which means that we can
easily turn it on and off in here. And that's it. We don't need to input any
type of UVs because they are almost always as
far as I can remember, we will use unique UVs for this. And now what I can do
is I can go in here and set has metallic
map there we go. And now it is
metallic. That should make quite a big
difference also in here. See? Makes a very
large difference. And that also means that now I just need to balance
things out a bit, and I can just
easily do that here. So we have a roughness
variation to get started. Let's call D to just play around with my so I'm going
to make that one lighter. I need to switch back to ud. Let's see. This is our
roughness variation. I'm going to probably
set to maybe 0.1. Then I have my
overall roughness, which I can also use. Yeah, dirt roughness
I don't know. Base roughness power over here. I can go ahead and
also tone that down, so that's 0.8 maybe. Play again around with
your roughness variation. I don't want it to be too overpowering,
something like this. Okay. So we got those dones. Now I'm not worried
about the Dort. I can have a look
at my highlights. So looks like my highlights
I am, those are working. So see. Let's add a little bit of them. And, of course,
as I said before, I need to grab a better
metal normal later on. The darkness and everything
is now also good. So the only thing
is that the overall thing is a little bit too dark. But what I can do to cheat, and you saw me do
this before, is, yes, I can do this in three as Max or sorry, substance painter, or you can go ahead
and you can go in here and set the
brightness near. What you can also do is you
can also use this mode here. So now I can see that two is
a pretty good brightness. You can also go ahead and say, like, Okay, so the
brightness is two. Now that I know that I want
my brightness to be two, I can go in here
and I can probably, you know, we want the
dirt and the base metals. I can basically do, probably, like, a fill or just
like a normal layer. Ah, it's been so
long since I did it. Set it to pass through. And then if I add
a levels to this, once it's been really
long since I've did this. Oh, yeah, okay, so then
if you add a levels to a layer that is
set to pass through, you can go in and you
can increase this. So I can say, like, I
want this to be 0.5, which is around two, or you can add an HSL node, actually. Might be easier for
most people to line it up with your
unreal engine scene. So if I go here HSL, because I believe in our HSL, we can just set the
lightness to 0.75? Okay, never mind. That's way too long. I guess
we cannot properly lined up. We just need to kind
of like That's twice, 0.55 to get started with. And then we just need to keep exporting until we are
at, like, a happy level. But that's why it's
sometimes easier to just do it inside of in real. So I can now go in here and
I can just press reimport. And you can see now
that I probably want to be like
double as bright. So I can go here
and just say 0.6. But it will just like, change
the overall brightness. So it's a handy way
to very quickly. Make some small
changes. Here we go. And if we look at
it from distance, yeah, they are nice and
readable, not too dark, not too bright, and up close, although they look a
bit low resolution, but well, actually, they
don't look low resolution. They look really
high resolution. But when we are going
to lower this down, we do need to get,
like, a better metal. But in general, that's
looking pretty good. Awesome. Okay, so
those are now done. Now here we are. So basically, I have now shown
you I have now shown you. That sounds wrong, all of the techniques that you
would need to create, like various types of assets. With these techniques, you
can easily create all of these additional
assets over here and also like these smaller
assets and stuff like that, and also these stones here. The next time that we
are going to do like really proper real
time chapters is when we are going to create
our landscape material and create our foliage. So what will happen now is that I will go ahead and
create the time maps. And this time laps will
basically cover how to create these
assets over here, just basically all of
our building white box assets because we are pretty much going to copy
the same textures and the same models and
just reuse them. It will also cover some
slight bug fixing over here, I have like this one
is not mirrored, so I need to fix
that kind of stuff, as you can see, and that's something that
I just remembered. So I might cover a little
bit of general bug fixing, but those are bugs
that I myself created. It will go over on how to create some natural stones which are going to use the
exact same technique as that we used for
these stones over here, but then they will
just be like flatter and once that is done, yeah, that's probably all
I'm going to do for now. This one over here, I can do that in real time.
That is no problem. Like we can just
go ahead and add that additional asset
for people who want to just follow how to
create a small asset. However, after we've done all
of our real time chapters, I first of all I want to start focusing a little bit more like our foliage and on our ground because when
everything is still white, like the foliage in the
ground is still white, it makes it very
difficult for us to get a good representation on how the lighting and
everything will work. So that's going to be the plan. Now, I would say sit back, enjoy, have a look at this, or you can just go
ahead and jump right in and do all of
this stuff yourself. So let's go ahead
and continue with this in the next few chapters.
79. 79 Creating Our Side Walls Part1 Timelapse: Mm. I like that No.
80. 80 Creating Our Side Walls Part2 Timelapse: [No Speech]
81. 81 Creating Our Side Walls Part3 Timelapse: I I I time. I I I Mm
82. 82 Creating Flat Stones Part1 Timelapse: Let. Don't do. D. D The dirty Mm.
83. 83 Creating Our Landscape: Okay. So we are
slowly getting there. Now, as you can see, we still need to do a
little bit of balancing. But what I first want to
do is I first want to focus on our lighting before
we start balancing that. However, before I can
properly do my lighting, I kind of need to create
the foliage first because the foliage will have
such a big impact on lighting because
it's all around, and we are going to go
for a blend between green and over here
between these colors. So it will have a lot of that light bounces
around against, like all of these colors, and it will just simply
affect a lot. So what I want to do
first is I first of all, just quickly want to
focus on the train. Now the train or landscape, whatever you want
to call it, it is absolutely not a focus
of this tutorial. So what I'm going to
do is I basically have a landscape
material that is super, super basic if I just open it up that I will provide to
you guys because I'm not going to go in and make this entire landscape material since this is just not a
tutorial about landscapes. I just grab this
tutorial or sorry, this material from one
of my other tutorials. Of course, as you can see, there are arrows
right now because the textures are missing,
but it's very simple. So basically, all that
I'm doing is I add a landscape coordinate
note into my tiling. And then multiply that the same as that you would use
a taxi coordinate. Then I just import
my base color, my roughness, and
my normal maps. And then basically
I just like using multiply to change
my color overlay. And then over here, I
add a slit you called a lend scape layer blend node. I simply add that, press the plus sign to choose how many textures I
want to blend together. And I just input
that. And over here, I just do some additional
roughness variation. So as you can see,
very, very basic. And what I'm going to
do now is I'm just going to go ahead and
choose which textures I want to use because
that's something that we haven't
really talked about. So I think what I mostly
want to have is I mostly want to have a blend
between grass and dirt, especially over here, you
can see that it's grass, but we do want to just
apply some dirt around it just to make it a little bit
more visually interesting. So, for our textures, the safest thing is most likely, and later on, we
are going to add grass stuff to populate it. But the safest thing is most
likely to use text.com. You can easily just
use mega scans. The reason I try to avoid using mega scans
is because I'm not allowed to have mega scans in my project when I
share it with you guys. However, with texas.com,
I am allowed. So that's the key
reason for this. Well, I can also see
they have added a bunch of new stuff, which
is interesting. Anyway, so let's
go ahead and go. We want nature. So probably three scent is the
best one for that. And then we are
going to go, Okay, so here we have already
grass and moss. Um, like, that's forest moss. Clovers. We might be able to blend between
grass and clovers. Checking. Like, grass
is always hard to do in just in general, int to make it look good. I'm going to go ahead
and let's say that I grab my clovers over here. And yeah, for this one, I do definitely recommend that you get just some
premium credits. You can literally get
like 1,000 of them for, like, $12 or
something like that. So it will make
things a lot easier. However, for now, I'm just going to go
ahead and I'm going to grab my Albedo normal and I do not really need a height map for something like this that
would be a bit overkill. I will make a new folder
in our text folder and I will call this landscape. And then let's have a look.
We are going to have clovers. We are going to have grass. We are going to have dirt. And I think that's pretty
much all we need for now. So like, just three
is probably fine. So let's go ahead and trag in these text sets we just got. I can also see that my keyboard registration
needs to be here. There we go. Sorry if I
sometimes forget that. Whenever my PC goes
into sleep mode, it messes up all my windows. It's actually quite annoying. Oh. I need to go to grass. One, two, and three. And then we wanted to have some dirt. So this is more mud. I want really like, N,
not a lot of rocks. It's probably best if
I hear, like soil. Like a few rocks is fine. And maybe something that's
a little bit more brownish. This one. Well, I would
need to balance it out a little bit more because
it's a little bit too brown. I don't think I see
always just make sure to keep looking and see if
there's maybe something. This one actually is
also pretty good. And yes, we can later on also blend between the
dirt if we need to. But I have feeling
that I'm only going to use the dirt
around my stones. You know what? I might
want to pick this one, but then I might
want to just like, lighten it a little
bit later on. But that's totally fine.
So I can go ahead and this one, normal roughness. And trots in here also. So now we need to go in here. Oh, Otec. Go away. Textures. Landscape grass. And I will also like later on
clean up my project and do, proper naming and
all that stuff, but that's not really
focus right now. So dirt we can throw in these. I do want to make sure that my SRGB and everything is correct, but that's something
I can focus on later. Now we have our clovers
which is terribly dark. So that's one that I
definitely need to fix. Oh, yeah, my grass is
also, really, really dark. Anyway, so we have our normals. Our normals are when they come from textst com,
they are OpenGL. So we need to turn on the
flip green channel for those. We don't have anything
special for the shader. It's just like a
very basic shader, so we don't need to
pack anything weirdly, although you can
totally probably pack your roughness map into your Alpha map if you want
to save a bit of memory. But for me, it's just going
to like the quick thing. So I do not need SRGB for my Uh, yeah, for clovers, I do need it. You see, this is what
I mean by the clovers, I have a feeling like
that this one is eight. Or, sorry, 16 bits. I can just quickly have
a look by just going to properties and details. Okay, that really
doesn't show anything. Oh, yeah, here, bit that 48. I need to double check
inside a Photoshop. So if we just input our
base color image mode, yeah, here see 60 bits. We always want to go
for eight bits with our base color because else
unreal engine gets confused. We don't want that, so let's just go ahead
and this one also. I cat why they do 16 bits. I also tend to do 16 bits
often because it's just easier to make everything 16 bits than to keep in mind
to change one thing. However, for now, here, if we now go ahead and just
reimport, it should He see. Now with SRGB, it still
shows correct colors, although the colors
are way too dark, but you can see that
now if I turn on SRGB nothing really changes. So those textures
are now ready to go. Wait, I forgot to turn it off
on my roughness over here. There we go. Awesome. Let's go ahead to
save our scene. Now our train master, I should really call it landscape mastering
in wheel because train is more a word untiFUnti. Let's make the first one grass. This one is grass roughness. This one is grass normal. Let's make the
second one clovers. Clovers base color,
and I'm just using these arrow buttons over
here to apply them. And let's make the
third one dart, their roughness
and their normal. Okay. Now what I want to do
is in here in those layers, I gave them like
a different name. So I do want to go ahead
and play around to that. Over here, I also
have one that's just like a variation
on the color, but I probably do not
really want that. So I'm probably going to
go ahead and just like, Well, can you remove it? You still cannot remove
things like you would need to just get
rid of everything. But I'm not really in
the mood for that. I'm just going to then in
that case, just leave it. Then it will just be
a color variation I honestly don't care
for something like this. Because Also need to
remove this, rear it, change all the settings,
all that stuff. Not really in the mood for that. Let's just call this
first one grass. Second one Clover. Then the third one is
going to be Actually, a third one might
be nice to Grass. Grass color variation. And the last one is
going to be dirt. Okay, see so now at least we
have proper names for it. So once again, we can go
ahead and go in here. And I will just pass it v on until I've
renamed all of this. Okay, so that is now all done. Now at this point,
we can just go ahead and save this material, and it should be ready to go. So if we go ahead and go
in here and then just go to our materials, master, right click material
incident and just call this like Landscape on the squall. Mine and I can just write this into my normal
materials folder over here. So we have our landscape
main over here. Not much is going on, but this should our work, I'm just
going to load it up. And now, so we already have our landscape terrain or just
like our landscape here. So what we can do is over here, we can just go ahead and go to our landscape material and
drag in our landscape main. And it should give us
like a default color. Okay? Why is the
default color metallic. Should be fine,
Let's go into pain. Oh, weight, it's
because we do not yet have our layers over here. So basically what
you need is you need a landscape layer
for everything color. Basically, you want
to go ahead and just want to go to grass, and you should be
able to just press the plus button and
say weight sorry, non weight blended layer. No, wait, sorry, weight layer. I can see my clover is
giving me some errors. So I can just go
ahead and go in here, and you can choose
where to place it. I'm going to probably
just place it into my scene folder over here. Seen folder. I just want to
do that with all of them. I don't know why
clovers is here twice. That's a little bit strange. I feel like, Oh, yeah, you can already see
like the train happen. But I feel like something is
a little bit warm somewhere. Let's see, we have our
soil and our clovers. Yeah, they seem to be fine. Let's just go ahead and
maybe add the rest and then it will work. I just don't really trust this clovers over here because
why would it be there. But basically, so we have
this train over here. Now what we can do is
we can, first of all, just set our brush size
a little bit lower. And then we can if we just fly over here, we
can do some testing. So first of all,
we have our grass. So this one is already
the default grass. First thing that I want to do is I would probably want my tiling to one to make it a little bit bigger over here to
get started with. Then the way that we
like you can have a lot of fancy techniques to
basically remove the tiling. But what we are going
to do is we are going to remove the tiling
simply by painting. Now, next we have
clover over here. So if I just click and paint, I can see that over
here, my clover is having some kind of problem. I can try to just get this
clover over here and see if this one is causing
the same problem. So this one, yeah, so
something is really wrong. I'm just going to quickly
check because I'm not sure what is wrong because everything looks totally fine. So just give me one
moment to quickly check. Okay, so I fix the problem, I don't know what was wrong. Most likely, it's
probably, like, when it's upgraded
from Unreal agent 5.1 to 5.2 that
something went wrong. The only thing that
I really did to fix it was that I went ahead and I literally just like remade my landscape layer blend,
as you can see over here. So I just right clicked. Landscape layer blend
and then just, like, re added three
elements like this, set the preview weight to 0.5
and just give it the name. And that's it. So I
don't know what to say. Like, if you have this problem,
that's how you fix it. It's a little bit of, like, a typical problem
you get when you are working on a tutorial
and stuff like that. The clovers, they are,
okay, the clovers are okay. They do feel like something
feels a little bit off, but they look nice
whenever we have, like, the sun hit them
and stuff like that. So this is now working. We have all of these
things, and now what we can do is we can start
with the blending. What I always like to do is because the blending
that we have over here, it will not look very nice. I like to always go in here, and I like to go in and
grab a mask over here. So this one, the third one. What's the second one. Second one, sorry, it
was the second one. They changed the
naming. Now, over here, it asked me for a texture. What I need for the
texture is I need some kind of grunge
map that I can use, and basically, I can paint
using the grunge map. I don't think we
have done that yet. So what I'm going to do is
I'm just going to create a new folder called crunch maps. And these crunch maps, you
can literally just like export them from substance
designer, for example. So if we go to designer and
create a brand new graph, you call this grunge now, we need one that is
slightly more specific. So when we want to
have a crunch map, what I like to do for, like, a train is I like to
grab something that has grudge map series here one, looks interesting, for example. Basically, to make
this blend properly, we do not want to
have any edges. However, we can use
the brush pattern slider over here to kind
of remove our edges, and then we can still
change the seat, play around with our contrast, and I do want to make it a little bit more
contrasty like this. And then just add this as like an output over here and just call this one um Grunge
on the score 01, for example, and
also in the label. That's literally it. You can now just go
ahead and export this, select a folder where
you want to export this. Targa file is fine, and you can just go
ahead and press Export. So if we now go to Unreal and we have our grunges over here. If I just plug this one
in and plug it in here, what you can see
now is that we have this grunge pp that
is applied here. So now if you would
paint with it, you can see that
this is the nom one, and now if I paint with
my grunge pap, you see? That feels a lot more natural, especially when I just
click a little bit, and it's up to you to
maybe make it a little bit more after a little bit more
contrast I mean, like this. Export one last time. Right, click reimport. And then you can also play around with your tool strength, and that will instantly
place dirt here. I'm going to make my tool
strength a little bit lower though Only 0.5. Okay, cool. So we got this one. Now what I'm going to
do is I'm first of all, going to blend my
grass with clovers to break up the general shape. Yeah, actually, my
tool strength is fine. Yeah, yeah, that's fine. I'm just going to click.
I'm not going to, like, drag because
that's too heavy. I'm going to click
around this area. To very quickly add some
clovers in between my grass. And of course, we are only going to really focus
around this area over here and nothing else because you cannot really
see anything else. But you can see that
this also here, breaks up the tithing and stuff
like that, which is nice. So if I go in here, and I need to make the colors
quite a bit brighter. Okay, so now we have grass and clovers. That's
already looking good. Let's go back into my grass
layer and just over here, make it a little bit more grass. Okay. And then we have
our dirt layer over here for which I can go in and especially
around the stones. I got out some dirt, and I will also add the dirt
a little bit more like extended over
here in the side. Then go back to my grass layer, and then just gonna
click it a few more times to break up that dirt. And it just needs to look
good for our screenshots. So you can also go ahead and make our brushes
a little bit smaller. And maybe have some
clovers that are sitting like they're starting to grow in between here
in between the stones. And sometimes I literally
just click like a bunch of times while in a
specific position. Yeah, I think that
should be good enough for
presentation purposes. Okay, cool. So the last thing that I'm going to do is
I'm just going to go ahead and go in my landscape textures
or well, the base colors. And I'm going to balance
out those scholars a little bit by just going into my brightness. And
let's start with two. Okay, so two is a
little bit too much. That's a 1.7 or 1.5. Let's start with 1.5, and
then I want to also tone down my saturation a little bit to 0.8 or something like that. Here you can see the difference. Let's do 0.9, make it a
little bit more greener. And then this one
was also going to be one because we
want to make it very similar, 1.7, 0.9. I want to make sure that
the blending looks good, maybe 1.1 0.5, 1.9 maybe. 1.8. Let's do 1.8 and maybe
set ratio to 0.85. I'm just basically
balancing it so that it blends like
a little bit nicer. And then we have
our dart over here. Our dart is pretty close
to the color I want. So maybe only do like 1.3. Just make it a
little bit brighter. And that's probably
all I need for now. Okay. Awesome. So yeah, that starts to fit a
little bit better. So when we take some additional
close up screenshots, at least we have
something there. So if we now like here camera, we just type in camera in a
outliner and duplicate it. And if we go ahead and go to that camera here in perspective. Whoa, my PC all of a
sudden starts too. Go will loud. Now, later on when we
do something like this, at least you have
some terrain in here. And of course, we will also have actual grass and
stuff like that. So then these bits over here, they read a lot better, see? So that's more my intention. My intention is not to do
this because then of course, it doesn't look as good,
but more like if we do some nice close ups of our
shots and stuff like that. Hey, what's that? It's white. I will change that. Then it just looks
visually interesting. Yeah, I can keep
this camera here. Let me just go ahead
and leave it there. Anyway, I also saw a little problem that
I will fix while away. That's a white
that I don't want. Yeah, as you can
see over here, I place everything around. It was a little bit tricky
over here, so I just, like, place these pieces in here just to kind of, like, make them fit. But, like, from our
perspective, it's fine. Of course, these are
all modular pieces. So if you want to, like, build out an entire
environment with it, you can totally do
that with these. So yeah, in general, that's
looking pretty good. Let's go ahead and continue
on to the next chapter. In our next chapter, what we're going to do is
we are going to get started by focusing on
our specific foliage. Now, for our folage
84. 84 Creating Our Trees Part1: Okay, so we are now going to start focusing
on our foliage. So as you can see over
here, the foliage that I really wanted to go
with is a combination between green and
also already like these spring or autumn autumn, these autumn leaves
over here where they have a lot of very
nice different colors. Now, so a few disclaimers in terms of, like, the textures. One, where I live, we don't really have these maple leaf type
textures or trees, I should say, at least, not that I can think of
where I can find these. And two, it is June,
the end of June here. So it's like full on summer so I would not be able
to find this color. Now, normally, I would
use photogrammetry when it comes to these textures. However, because
of these factors, what I'm going to
do is I will just use text.com for this
specific tutorial. Now, basically, I am going to create a
tutorial in August, beginning of August,
I am creating a tutorial that is
about photogrammetry. It will literally cover
everything you need to know about every single technique that you can use in photogrammetry. However, in that we will
also cover trees and plants and creating leaf texts and all
that kind of stuff. But if you already want to know how to do this
kind of stuff yourself, it is called photometric stereo. So if you, for example,
simply go to Google or something and just type in
photometric stereo leaves, and let's say that we
grab the first one, and this is a nice
tutorial by Astrid Rotei. And basically, the way that this technique works just
to quickly explain to you, is that you take a bunch of different images
from a top down view, and at every image, you
change the lighting angle. So you basically make these
images in a dark room, and every 45 degrees, you place a light, and
then you take an image, and then you get
this stuff where you can see that you
change the lighting angle. And then you simply have a
note inside of substance, which I don't think
I can zoom in here. But the note is
literally made for this. I think it is called the
multi angle correction node. And in here, you can simply
input those textures, and then it will output
for you a norm map and also a base color and stuff.
So that's the technique. There are many, many
tutorials on this because it's something that is not
super difficult to do. But yeah, I recommend to then just
like, have a look at that. But we are going to
take the easy way, and we are just going to go
ahead and use texts.com. Now, before we do that,
I am going to go ahead. And so in terms of the trees, I want to make trees that are fairly similar to what
we have over here. What I really like of these
trees, if I just select one, over here is that I really like that splitting effect
that you can see over here. Like, you can see that
it goes from one, and then it basically
splits into two, and those split again into
multiple additional ones, and then they will have branches in the top and in the sides. And I really liked it. Like, it makes it so that the tree covers a lot of ground and it adds
a lot of visual interest. So that's basically kind of
like what I want to go at. And, of course, we will
be using speed tree for this just like we
did for our moss. So if I just go ahead
and open up Speed tree, then what you will get is you will get a bunch of templates, but we are just going
to go for blank. You can have a look at all these trees and
stuff like that. But let's start with
like a blank template over here. Okay, cool. Now, let's just jump
right in, shall we? So, of course, what do we need? We need a trunk. That would be the handy one. Let's go to tree. And the nice thing is that
if you go into trunks, we can already have a split
trunk that I've used before, as you can see over
here, so that we already kind of just
split our tree. I'm going to because
it's, like, quite thick. So let's go into our trunk. And as I said this before, speed tree is quite easy to use, but there are just
so many settings. And also, I often
just need to, like, look around because I cannot remember every single
position of every setting. But what I can do
is I can go over here and do something like this. You can also, I
believe it's this one. Over here, you can
kind of, like, control if you do not want to
have that flaring as much, so I can control it here. And there's another
setting to control the flares, but I think it was, like, I'm not sure exactly where it was because I almost never seemed to touch it. Uh, I thought it was pruning. I guess I guess that's
not what it's called. But yeah, so there are, like, some settings in here. I just honestly, I don't know where it is that allows you to, like, lower down like
this flaring over here. I would assume that those
settings are probably in, like, a radius or something like that, maybe like a spread. No, not the spread. Yeah, I think I'm
just gonna give up. Okay, I'm just gonna
give up where it is. I'm not really sure, but
it's not really important. So right now over here
we have our splits. That's the one that
I want to focus on. Now, with our splits, we can control a bunch of
stuff over here. A few cool things that we can control is this one basically
turns it on and off. Then we have a balance, which basically allows us to show, which one do we want to make a little bit bigger
than the other one. And then we can also
just here with this, we can basically
control, the angle of them. Keep that quite low. And you can also like over here, individually make them
bigger or smaller. I quite like the idea
of having, like, one of them to be a
little bit bigger. So let's just go
ahead and do that. Now, at that point, what we want to do
next is we want to go ahead and start with
our main branches. We can go to our trunk, right click geometry and
just add a branch. And in order to basically attach this branch to the split, you want to go to generate and just turn off the
number because we don't really want to
have any other branches. And then if you
scroll down to extend parent, set this to Ay. Basically, what this
will do is it will tell this branch if there is any type of parent in our previous note, because this is
called a parent node. This is like a child node, then just extend
it wherever there is a hole, and that's
what it will do. Now, these ones, we probably want to go ahead and have these go all the way to the top, especially if you like, it's easier if I just show you here. As you can see over here,
it starts to extend. And these extensions, they
go all the way to the top, although at some point they do sometimes split off, as
you can see over here. But, yeah, that's like the
general idea behind this. So if we go ahead and go in here and make them quite
a bit bigger. So let's go to our spine. And here we have the
length of parent. I'm going to go ahead
and set it to zero. I want to have absolute length because absolute means that I am 100% sure that it will
create these lengths. So let's go for something
quite big like this. It has some really strong noise. I don't really want that, so
I'm going to scroll down to our noise in our spine and then lower the late
noise a little bit. And you can also
play around with your turbulence just in general. Try like Make it not too strong. Yeah, I can also press smooth, and smooth is maybe
pretty good for this one, because I want to have some noise in there,
but just not too much. Now, at this point,
we can control in our trunk by going into our skin and scrolling
down to splits. Over here, we can basically control how much we
want to spread this. So we can say like,
Okay, I want to do something like
this, for example. Now, next thing that I want
to do is in my branches, I set the length over
here in absolute. I want to click
this little button, and this was the
randomized button, if you still remember
from the moss chapter, and I can go ahead
and use this to basically extend things
out a little bit. Okay, so we got that one. Is there anything
else? In my radius? Maybe like tone it down a
little bit more in our radius. And then for this one, we can go ahead and
here at the top. We can right click R geometry, and we want to add
a cap like this, just like somewhere where the
branches pretty much stop. Now the next one that we want to do is we just
want to go ahead and start adding some
additional branches to this. And as you can see
over here, they often split again, halfway. And there is a split
function in our branches, but it's easier if we just
place another branch here and then start going from there. Be over here, if
I go to my spine, Oh, sorry, not spine, skin. And try to split it here. You can see that
the split does not really work in this
kind of stuff. It shows like an
arrow split disabled, only one tile detected. Now, the way that you can basically fix is if we want
to go ahead and, like, split it again because
one thing that I remind, most of these branches, like these ones are normal branches. We can add those.
However, these ones, I think that we do actually use the split function
because they do not give that effect where they start to taper off
away from each other. But rather, they will just
kind of be like an ardon. These ones we probably
don't really have to split, but we'll have a look. Anyway, UV tiles over here. So what you want to do for
that is you want to go ahead and go to your U tiles here. And in the absolute,
sorry, first of all, in the extensions
tags is to manual, match, if you just zoom in. In the U absolute, it was four, I believe, yes, we need
to set the U tie to four because we
have two branches that we both want to split. Basically, over here, you
can see that this one is two because
it's two branches. So basically just set the number to the number
of branches that you want. But keep in mind that
you do need to be able to split it by an action of two. So you cannot go
for five branches. You need to go for four, two, four, six,
eight, et cetera, et cetera, even
numbers, basically. Now that we have done
that, let's see. Actually, if I'm going to
split this one Um, here. Do I want to split
it again later on? Let's do like over here, you can see this one has like four or five splits,
and let's see. Let's just go ahead for us. Let's do one. Let's do like an average of
three to four splits. I can then just go in
here and I can ct Okay, so three to four splits,
I can go to my branch. And then I guess that I want to just go
ahead and actually, first of all, push
this down a bit more. So let's set the absolute, a little bit lower to
where we want to split it. And also very important, use the variation over
here, the variance. So let's say that over here, at this point, we want
to split it again. We can now go into our skin,
and we can scroll down. And over here, we
have our spread, as you can see, set
that one quite low. And also our expand, which will make some
branches bigger than others. I just want to, in general, make them a little bit thicker. And I can choose how
thick I want later on. And you probably guessed it. Actually, you know
what this cap I temporarily don't need yet. We want to go ahead and we
want to grab another branch. Once again, actually,
we can grab this one. That's just press
Control D to duplicate this branch because that will automatically extend
since we already extended out. Seeing this, it's way too thin. So first of all, I'm
going to go ahead and let's go into
my branch before this and just lower down
the noise over here. What do I think
of the extension? Do I maybe want to
make it a bit smaller? Of course, it's quite organic, so you can just choose
whatever you want to do. Let's do something like
that. Now if we go to our skin and
go down to, like, our splitting, I want these branches to
still be quite thick, so I'm going to make
this quite thick. Also, this smoothness. Let's make the inner
smoothness a little bit more because it was
not looking very nice. Okay, so we now have
these branches. Maybe stick them out
a little bit more. Let's go to our
spread over here. Yeah, so let's stick
them out. Like this. Now what I wanted to
do is I wanted to go ahead and also create
some additional splits, but probably not everywhere. I think, yeah, I just
keep referencing this one because for tutorial is so easy for me to just
fly around it. But if you, for example, follow a branch, so it goes here, it splits off, and then it
already ends in one top, and then this one
splits off into two. So as you can see, it doesn't always just completely split. So what I want to do
is at this point, I want to, for
example, keep a few. I'm going to go in my branches. I'm going to make these in
our spine in our length, a little bit longer
and maybe add a little bit more
variation to it like this. And now for this
one, once again, we can do a split, and I believe that split is
already turned on. We just need to change Oh, no, we don't need to change our UVs, because we are
already splitting it. However, I want to change the amount of times
that it splits, and I can do that by going
into skin and scrolling down, and then over here, we can
lower down the chance of it splitting, which
is quite nice. Now we can go ahead
and let's say that I want to split these. Do I want to split
these three? You can also kind of, like,
change the seats. So I feel like I don't
want to split this one. If I'm just going to lower
this, but then go in here, and then just in general, like, not this one. I'm just going to I
want to basically set like an offset or
something like that. Let's go ahead and just play
around with my sat till I get one where it's basically turning that one off like this. So that one I want to
kind of like keep. Now we have our
splits over here. I feel like that these splits are still a little bit too thin, so I probably want to set these sides a
little bit thicker. And this is probably going to
be my last split over here. Let's see. Is there
anything else that I want to probably
expand these quite a bit. Let's go ahead and just contra D. Plug these on here again. Okay, so now we
are splitting it. Oh, yeah, I'm going to
add some branches here. So I need to keep
in mind that I will actually like more visually interesting branches later on. For now, so we have
the previous one. We can go ahead and we
can set the spread. I'm going to also go ahead and, like, set the expand, so I'm going to you know, I want to make this
quite like a big expand. Let's go one back
and also over here. Just like play out
with your expand, make it like these
quite thick expansions. And then this one. So a lot of it is literally
just tweaking. I also feel like everything feels a little bit too
straight for this one, so I might want to go into
my spine and scroll down. And just like in my noise, you can play around that was the early noise with the
late noise a little bit. Oh, wait, sorry, I need
to do that on this one. On the last one. Yeah, I can play around and make it
like a little bit more noisy. So that is already looking
quite interesting. Do I want to maybe
make my split a little bit because I have it over here. And yeah, I can
see it like that. Yeah, I probably want to make my split a little bit higher. So I want to probably go all
the way back to my trunk. Make this a little bit longer. Then go back to my branches, maybe make those a little bit shorter, something like this. Okay, so we now have a splits. At the last branch,
what I want to do is I want to go ahead
and go to my skin, and I'm going to stop
splitting at this point, so I can set the
split chance back to zero so that it now just
is like a normal tree, we like a bunch of
different splits. Now, next thing that
we need to do is because we're
basically going from big to smaller details, we are now going to add these additional branches that
are coming from the side. And maybe what we can also
do is have another layer of just like some branches
that are going upwards, but they are not
necessarily a split. So we can do both of these
by just creating one of them and then duplicating it and
changing some settings. I do feel that over here this one it's still I want to
go to my radius over here. Maybe like well, not
tone down the radius. Oh, wait, of course,
the radius doesn't work because we are controlling
everything via the splitting. Because I don't
like that. It goes from tick to tin to tick. I need to go to which one is it? I guess it's this one, the very first truck
and then go to splitting and just expand
it out a little bit. Then if I go to
my second branch, I then can once again, Yeah, here, so I'm splitting it. Maybe it's like
some of the noise that is causing some
of these problems. And there's also some thickness
variation in my skin. But this one, I'm
not sure if it. This one doesn't really do much, so it must be somewhere in my. That's also the thing,
sometimes it's a bit tricky to know where something
is coming from. Yeah, so that's our noise. I'm just having a think
about which one can I? Because over here, we have
our length, a radius. So this one is
controlling some of it. But it's just like
controlling the entire thing, which is something that
I probably do not really want to touch too much. Let's try going into our expand. Man do it. You can do it. Give me some options over here. I'll try not to spend
too much time on this, but I do, of course, like,
just want to have, like, a general look at my
radius and stuff. I think for now, that's
fine. Okay. So anyway, we will probably go
back to that later on when I'm going to do
some additional balancing. For these branches over here
because we are splitting, we probably need to assign
these branches to a few areas. So I will probably
not have branches on my very base trunk. I want to go over here,
right click geometry, and we can try to already
go into branches and go for like large branches over
here automatically. And then for this one,
what I'm going to do is what's it welding failed? Oh, yeah, I didn't
care about that. Sometimes it shows an
error, you can click on it. The reason I don't care about it is because I'm going to lower down my frequency to only
have a few of these. Oh, that's interesting.
That's clipping through. I've never seen a branch
actually clipping through. Anyway, let's go to our spine. And then here we have the
relative from parent. I once again probably want
to set that to zero and just go for an absolute branch and then just simply in here, like a lot of variation to
it, maybe around three. Now, these branches,
they are sticking out. I'm going to need to
change them a little bit because maybe if I go
ahead and let's see. Let's do my I don't really
want to rely on the rolling. What I want to rely on is
the start angle over here. So with the start
angle, we can basically control roughly how much
we want to start it. What I want to do is I
want to set this to, like, 0.5 and then use my variation. Maybe set like a
little bit higher. And the next thing
is going to be if we go to our
generator over here. Let's see if we have
three branches here, then we will add more
of those later on. So what we can do is we can, first of all, just in general, change the sat a little bit. So I'm just like having a look. Let's just change the rotation. That's probably easier. So if
I just change the rotation, then I can also
change the position, and this will just give me, some additional
options and stuff. Let's say something like this. Now, first of all,
let's go to our skin, and we want to go ahead
and make the Radius, okay. This time, radius
from parents is fine, where it will basically pick
the radius of the parent, and then it's like
half the radius. I'm just going to go
ahead and I'm going to make it a little
bit thicker like this. And then the variation
should on the way, the variation will not kick in. I guess because the branches that it's attached
to are so thin, it's better if I just
do an absolute radius. So I was like, Oh, yeah, we can finally use the from
parents, but I guess not. So we have these ones which
are a little bit thicker, that might be a
little bit too thick, something like this, over here. Do I like this? Like, I'm
fine with it sticking out. I feel like I want a
little bit more variation in some of them going upwards. So if we go into our spine, and just play around a little bit more with our
start angle variation. And also something that you can always do, you can
always select one, and you can always
just in general, play around with it or you
can go to your node network. And then when you
select one, it will only change this
one individually. So that's the difference
between generator and node. This should also allow me to, like place these in really
specific locations like this. And then I can click
back on generator. But of course, if
I change anything now in my position settings, it will change the position. So anyway, I now
have this one done. Am I happy with it?
Yeah, that should work. Like, I can live with this. I'm going to go ahead
and press Contra D. Because now we have
these branches over here, and I once again want to lend these ones to these branches. Now with these branches, I'm
a little bit more worried by going into skin and
using the absolute radius. So probably want to go
ahead the setter to zero and also the
variance to zero. And then just use my
from parent radius. But then just push
that one up just to clamp how much
we are using this. We can then go into
our generator and we can just play
around a bit more with the frequency until we got
something that we like, which I quite like this. Because they are
thinner, the noise is a little bit too intense, so let's go into our spine
and just play around a little bit more like late
noise to lower that amount. Over here. And also, what I'm going to do
is at this point, I might want to like art, just higher up the frequency,
a little bit more. I might want to now just
go into my node network and then basically just
manually place them a little bit more so that I have
a little bit more control. So this one I want to like puja, because even though we
like to generate stuff, having a little bit more control like this is just
really powerful. This one I probably I
am going to delete, so you can just
press delete on it. This one I'm going
to move down here. This one, I'm going to, like,
interact a little bit less, like, have it less close
to other branches. And then over here, what
we're doing is we have just these ones which are fine. This one I might want
to lower down a bit, and there should also be this
is noise, gravity, length. I can remember there was
thickness also radius over here. And then I can control the
radius a little bit more. So at this point,
I'm just going to really go for more manual stuff. I move this one up
a little bit more, maybe add a little bit of
additional noise to this. And just keep playing around
with your branches until you got all of the nice positions that you want and
stuff like that. Something like this
looks quite nice. Like we have, well, actually, maybe what I
want to do is this one. I want to probably move it
down a little bit more, just to, like, get a little
bit more variation, too. It. This one, I want to once again, tone down the thickness. Oh, it looks like I
cannot really tone it down more than this,
then it's fine. I was not there to
touch it, maybe lower down the noise, however. Yeah, that's better if I do that and maybe make it
a little bit lower. I want to basically also try
to from every angle that I have a nice amount of cover. So you can see that many areas when I look
at every angle, they just make the tree feel
a little bit more round and not that one area has no
branches at one side. So here can see that
now. Every area has some branches. Okay, cool. So the last one I
let's have a look. Most likely, I just
want to, like, add some really small
branches to these. Yeah, like these
really small twigs, as you can see, and most of them are like, just
pointing upwards. I quite like that idea of
having that at the end. What I can do is I can just add yeometry and I can
try to go for, like, little branches like this. And then it's just a
matter of going in here and let's start
with our spine. And let's start with our
absolute from Barents fine, but I just want to make
these a little bit bigger. In my generate, I'm just going to set the count
probably to, like, two and I want to set the
first angle a little bit lower so that it generates up until
almost the entire top. So there you can see that now
this starts to really feel like a tree already. Let's go into our
spine. Let's tone down our late noise a
little bit more. And we can also go
in here if we go up, we can play around
with our start angle. Let's set my start angle. Yeah. Actually, you know what, it's already pretty good. Maybe like play
around a little bit more with the variants
in the start angle, but for the rest,
that is looking nice. You can sometimes
also play around with gravity to kind of, like, push the ends up a little bit, which is something that I often see with trees bear
like the ends. But, of course, I'm
not a foliage artist. I'm mostly just
like here to make this look visually interesting. Okay, so we got
these small branches over here. That's
looking pretty good. Now what we need, well, first of all, save I scene. But also, what you
can see is over here. That we have, like, a lot
of additional branches. And the cool thing
is that now we can literally make
everything geometry. So I don't know over here. Like, over here, they even make literally all of the
branch geometry. And I kind of like that idea
because we are using nanite. So I kind of want
to also do that. That is pretty new to me.
I'm not used to, like, pushing in this much geometry, but it will be pretty cool. First of all, let's
save my scene. Source file saves.
Let's make a fool cult. Foliage. Sci. And
the cool thing is, once we have finished this tree, we can use speed
tree to basically generate different variations
of it almost instantly. So these little branches
that we now generated, let's already add even
smaller branches. Let's finish off these ones and then just start
duplicating them. So we have these
little branches, and now what we want to
do is we want to have branches that are
sticking out to it again. I can just go ahead and
press Contra D probably. Or actually, you know
what? No, it might be better if I actually
go ahead and go to branches and go for
twigs because the twigs, they already have a bunch
of settings turned on. Here you can see, that's what
I meant like the settings. We have these little
twigs going everywhere. And we can now use these
to add even smaller twigs, which will hold our
leaves over here. So let's have a look. So, we have a twigs. I want to I probably
want to make this one a little bit
thicker, these branches. So let's go into
our skin. And just push up the from parents a little bit more to make
them a little bit thicker. Okay. Then we have these ones. Is there anything I really
need to do with this? Honestly, I'm fine with it. I don't see much I need to do at this point,
maybe in my spine, lower down the noise a tiny
bit. For the rest is fine. So we have our twigs,
and I believe that's about where it stops
if we go to branches. Yeah, we would need
to go ahead and go for even smaller
twigs on here. However, these even smaller
ones, they would, of course, hold our leaves because we
are going to go for, like, individual leaves,
even, and not even, like, just like a
collection of leaves. So I would probably
want to have, like, a lot more, and
I want to have it. Not so much like around here. What you can often see is if we go ahead and have
a look over here. You can see branch, and now we have done our
second branches. So now what we're doing is working on these little leaves. But what you can see
is that they are often pretty flat on one branch. And that's what I want to try and capture for
this kind of stuff. So over here, they
are not really flat, so I'm going to go in here
and let's first of all, in our spine or
sorry, generate tab. Let's go ahead and
generate quite a few more. Like this, probably. Then the next thing
what I'm going to do is I'm going to set my first a little bit higher so that it
does not try to generate these twigs too fast. The next thing that
I'm going to do, guys, I feel like a little bit
of slowness already. I'm going to go in my segments, and I can go ahead
and just lower down the accuracy a little bit. Actually, maybe better to set the radio radio is already fine. Can I, let's low
down the accuracy, just to, like, here we go. Just like lower down the amount
of polygons that we have. Anyway, as I was saying, so we have over
here these pieces. Right now, they are pretty
much all the way around, but I don't really like that. So what I'm going to do is I'm going to go
ahead and first of all, just set the counter two because when I
set the counter two, it will kind of just generate
it on two fonts like this. The next thing is that like, right now, they feel
more like this, but I really want these
really thin ones. Just checking, like, Yeah, makes can really use even
tinier branches on top. So I guess we can also do
that. So let's go in here. Let's go to generate and set the frequency a
little bit lower. I need quite a bit more
noise and I need to make it a little bit thinner.
Let's go into our skin. And in our radius,
let's first of all, lower down it a bit and add quite a bit more
variance over here. So I want to make sure that
it does not go too low. Okay. Now, in our spine, we can also go in here and
just like in our length, add a lot of variation
and then lower down most of it too
much variation. It's a bit bigger. Okay, now I want to go down to my noise, and
for the first time, I want to actually increase my noise amount. So let's see. Okay, so now we
have these pieces. So now we would
need one last one. And that's going to be the
branches that hold the leaves. And if we have a look, these
bunches are often also quite flat over here because
flat often reads a lot better than seeing stuff
from like a angle. And what we might need to do
is we might want to, like, wiggle these core branches
that we have now up and down. Actually, no, not these ones, but the ones before it. These twigs Oh, no, no, I might be fine. We just need to see what it looks when we actually
have our leaves on here. So let me just get
a decent angle. Okay. So we have these ones. I can probably just duplicate
this one, throw it on here. And then this one, I
want to go ahead and set my radio segments like
as low as possible. Lower down my length
segments also. And having 500,000, in
this case is not too bad because we are
going to use nanite we've already used millions. I'm going to go ahead
and set the frequency up quite a bit over here. I still want to keep them
kind of at the same level. But with these ones, I'm
going to go to my spine, and in my start angle, I'm going to give a little bit more variation in
the start angle, just to make it a little
bit more interesting. I'm going to go to my skin. And I'm going to,
like, lower down the variation in the
thickness over here. And I want to go ahead
and go to my spine, and I'm going to lower
down the scaling of these. So these ones really
only, hold the leaves. I do feel like it's probably
not enough branches. I feel like I need
to go into generate and maybe set to like 100. But then we would
have 1.5 million. That's quite a lot. Maybe let's do 80. I'm just keep looking
at the triangle count. 70 maybe. And I also feel
like they are now too thick. So let's go to our
skin and once again, in our parent let's make
this a little bit thinner. Okay, so I think that's
a good starting point. At this point, we
just need the leaves to know exactly what to do. Now, we have this system over here that starts
with these twigs. I can go ahead and I can select this and just duplicate it. And I want to add these ones, this system, also
to the big ones. However, to the big ones,
I want to go in and I need to lower down the radius. These branches and I
also want to go ahead and add some variation in it. Let's see. Then I have these
ones, and for these ones, I want to hire the
length Oopsio much? No. Go back. And I froze. I think I need to be really, really careful with that, that I don't increase it too much. It will probably recover. I will just pass the vo until it does. Okay, I recovered. Basically, because
over here we have, like, a really large
amount now of jom tree, we still need to do our leaves, which is going to be even more. I'm going to lower this
to maybe like 0.5. And that hopefully
does the trick. And also over here, I
feel like I've waited many of these really
small branches now. So I'm going to go
ahead and select those, and I'm going to set my generate for this one to maybe like 40 only for these to
make them a lot less. And that will also lower
down my branches over here. And I'm going to go
ahead and set my first, probably a little
bit lower also. Let's see, something like this. Yeah, let's start with
something like this. I feel like that dis stuff, however, like over
here, where is it? It's like these big ones. Right now they are like
at three angles again. However, if we often
look at these things, you can see that they are
mostly just like at two angles. Only at the higher ones, do they kind of, like,
go in more angles. So what I maybe want to do
is for the lower versions, which is these
versions over here, set the count to two and give the second to,
like, compute that. Yeah. So we kind of
set the count to two. And then what we basically
do is we just go into our spine and in
our start angle. We can go in and maybe Oh, no, sorry, that's the start. Start roll. No start roll
is for the entire thing. I think this rotation
one. Yeah, yeah. Let's go ahead and
just like, add some variation over
here in the rotation. And that will kind
of just like here, see that will look a little
bit more interesting. Then over here, it is fine probably to
have three of them. But what we always do is we can always decide
that for these ones, if it's too much stuff, I don't know where these counts are or
where you have two, us it's these one,
so I can just, see what it looks like
if you set this to two. Yeah, you know what? I can
probably get away with two. Let's do two and then
in our rotation over here. There we go. I just want to basically
save my polygon count. Because if I go ahead and
click away, right now, our entire tree is around
2.5 million polygons, which for nanite
is not that much. But of course, for management
purposes, it is a lot. So we do want to go
ahead and lower down. The traditional
technique would be that normally after you've
had this branch, you would basically go
in and already just use textures like you would use planes to save a lot of space. But in this case, I'm just pushing it a lot. I'm going to go
ahead and duplicate these and add them to the
final branches over here, and that looks pretty
much ready to go for now. And there we go. As you can see, a fairly advanced looking tree, quite a bit more advanced than
the trees I normally make. I'm going to go ahead
and save my scene. And what we will do in the
next chapter is we will start focusing on actually
adding our leaves to this, and that's going to
look really nice. Out of curiosity, I am going to go up here
and I'm going to have a look at the polygon
count of this one. Yeah, around 2 million. So this tree is also
around 2 million polygon. So we are going a
little bit higher, but you can see that they have
quite a bit less branches. So for us, before we know
how many branches we want, we first need to
place our leaves and we will do that
in our next chapter.
85. 85 Creating Our Trees Part2: Okay, so let's go
ahead and continue. Now, before we continue, we kind of need to have
our textures by now. So I can go ahead and
go into my text folder, make a folder called like tree. And these leaf textures, we are later on also going
to use those wide away to place them as like
a geometry in here. So we are going to have
some more dead leaves that are like curled up
and that kind of stuff. So these textures we
want to already get. So we have our bark texture, it's going to be quite basic. Um, I will do a good
name Autumn Leaves. Just because we're
also going to get it, just green leaves because we
will get those later on too. Now let's go ahead and go to texts.com because here we have a lot of sorry,
not treaty foliage. There was a specific
one for this. Tree D scanned atlas,
that's the one. Over here, we have
these autumn leaves. They do always have
the branches to it. So if we cannot find
a individual one, we will just use that one, but let's just check. And also, we have some
various dry leaves which we could use in combination with the autumn leaves on the ground and
everything like that. So let's keep that one
in mind, shall we? I don't think does it
show like over here. Branches, dry leaves. It doesn't really
show fill leaves. I'm like, oh, wait,
over here we go. Awesome. Here we have our autumn maple leaves and
we have a couple of them. These ones are really
red. These ones are well, they're also just maple leaves,
so we can also use these. So let's swap around
between red and green. Ideally, I also yellow. Ideally, I also want green. I have here, maple leaves green. Perfect. That's really nice. So let's do red, yellow, and green in here. Are they by any chance on
the exact same position? No, they are not. But that of
course is kind of logical. So let's go into our
tree. So we have our autumn leaves, green leaves. And our yellow
leaves, let's just go ahead and get those. I
will just pass the video. I'm just going to
get the albedo, normal roughness,
translucency, and Alpha. Those are the ones that
you want to get for this. And by the way, it can
just be like 512 or 1024. We do not need a high
resolution texture for this. Okay, next, we will need a bark. For that, a tweety
scan is often best, and then we can go to
wood tree bark over here. And we want to get
a birch style bark. Let's see this one. So
a little bit intense. I want something that's
a little bit softer. Um, or maybe just
something like that. I'm not sure. I like something Let's try this one for now. We can always
change it later on. So as you can see
here, they are not in the power of two, but
that should be fine. Like speed is able to read it, and else we can just,
like, duplicate it. So if we go for let's
do 1024 by 2048. Wood normal roughness is pretty much the
ones that we need. Yeah. That should be
fine. Okay. Cool. We have that stuff,
so I'm a little bit worried about these ones not
being by the power of two. So I want to make sure
that they are tilable, so I'm just going to open
them up in Photoshop. So if I just go
ahead and create a new 1024 by 1024 image, let's just drag in
my albedo map in here and just hold all Shift
while on the move tool. Okay, so that is
working totally fine. It feels surprisingly
low resolution. 1024. That is curious. Like, I did download. Oh, No, no, yeah, yeah, I got 1024. Okay, weird. Anyway,
that should be fine. I'm just going to go
ahead and save as. And I'm just going
to save a copy. And I will probably just
like overwrite this one. By the way, am I at eight bits? I am. So save a copy and just overwrite
the original one. Over here. Then I can do the
same with my normal. I just place my
normal on one side. Hold Alt, file, save
a copy. Number two. And finally, we
have my roughness, just because it's a
little bit easier for me to work in the
power of two with UVs. The reason normally
I am fine with, like, having them half, but I'm worried that
because we have so many branches
that it will cause some issues when we are out of UV unwrapping all of our branches
and stuff like that. Anyway, so we now have
all of those things done. So pretty much, we are going to go ahead and get started
with our leaves. For leaves, we first of
all need to kind of, like, create a material. We can go up here to the plus
minus in our material tab, art new and just rename
and call this one. Autumn leaves, for
example, and press okay. Now that we have this
material over here, what we want to do is if we
go into our textures and just drag in your what we
mostly need like an albedo, opacity and normal just to be able to see
what we're doing. We want to make sure
that it's set to two sided so that you
can see both sides. And the most important
thing is that we need to create our leaf measures. We can do this quite easily. However, it's also
sometimes a bit buggy, so make sure to save your
scene at this point. By going into cut out
and meshes and in here, we want to choose how many
different ones we want. I'm going to go with just three. I feel like three
is more than enough because we are going to have
so many different leaves. Now, when you have this
view, there's a few things. You have this orange
line over here. This is your pivot point. You want to go ahead
and just place this wherever you
want your pivot, so I'm going to place
it like somewhere here. Then what you want to do is
you want to go over here to your angle and set the angle. To the angle of your leaf. This is because this also choose which direction your
leaf will be facing. Then over here, we have a plane. You can see that
you can manipulate this plane using
these red buttons, and this is basically going
to be our actual geometry. You want to go ahead and
place these over here. And if you need another
one, you can just click on line and this will
apply another one, and you can move these around. If you for some reason
need to remove one, you can go up here
and just press the X button and paint one out, which I of course
will not be doing. Now that we have done this, now what we need
to choose is like, do we want to have a
little bit of, like, bending and that kind
of stuff in our leaves? That is a nice thing to have.
However, remember that it will also drastically
increase your Bolgon count. No, okay. But you can add more by going
up here to a tesselation. I might want to like art like a little bit of
tessellation like this. Yeah. Like that, yeah. Then I
just want to go ahead and I'm just in the high,
medium and low. I'm just going to drag
in all of these three. The reason this is
normally made for, like, LODs, however, because we are using
nanite, we don't need that. Now once that is done, you can
just click to the site and then we'll close the window and you can do the
same to the next one. So here we have the next
one, we set the angle. We want to make sure
that it doesn't touch any of the other leaves, so I'm just going to try to,
like, kind of avoid that. And I'm also adding some
additional angles here, tiny bit of tesselation,
and just add it. Okay. Cool. And now
we have the last one. And for the last
one, I'm going to go ahead and grab probably like this bottom one over
here, rotate it. So this one is upside down, but that is no problem because that's why we set our angles. It Like this. Tiny bit of tesselation
and add it. Okay, so our material
is now ready to go. So now what we need
to do is we need to start adding all
of these leaves. If we just go ahead and go down here, we will use this one. This is way too much. I
can already see that, so I want to go in my generate and set this
probably to like 20. And let's select again. Yeah, that feels a
little bit more logical. And also the noise
is really strong, so let's go into our
spine and just lower down our late amount
a little bit, because, of course, the noise is also relative to the scale. So when we duplicate stuff, the noises get a
little bit messed up. I can right click Add
geometry to select it, go to leaves, and I probably
want to go ahead and go for, like, alternating leaves
or scattered leaves. I think alternating
leaves is fine. And now you can
see all of these, like, cool little planes. Now, at this point, I want to go ahead and before I start
adding my texture, probably go to generate and just set the general
scale over here. Down a little bit. Although
you can also do this later on in the skin, over here, you can also set the
size of your leaves, but I often don't really
notice much of a difference. So now we have our
leaves over here, and that's looking
pretty cool already. We can now go ahead and we
can drag in or we can go to our skin and in here set the material to be
our autumn leaves. Now our leaves are applied. Now what we want to do is
we want to go ahead and alternate between the various
different leaves that we have by pressing
this plus button and adding two more leaves. We can go over here and mesh
and set mesh number one, mesh number two, and
mesh number three. Now we have all of
these different leaves. The next thing that I want
to do is these leaves, right now they are kind of
all pointing for some reason, inwards, which is
not what I want. So I can go ahead and now I can start by manipulating
a bunch of stuff. The leaves look a
little bit different, so compared to,
like, other stuff. So I'm first of all, going
to go ahead and okay, rotate is definitely not
the one that we want. Let's go ahead and let's see. Let's go into skin. Oh,
let's also already, add some noise to this
since we're here anyway. So let's go ahead and just apply a little bit of vertex amount. Now, what you also see is
sometimes you see that the leaves are clipping
with each other. If you want to avoid this, you can go up here to collision and set the collision
to be high quality. What that will do is it
will basically remove any leaves that are
clipping with each other. So that you don't have that. I'm really surprised. So over here, we have folding. So the folding is
nice because it can give our leaves
a little bit of, like, a bend, you can see. And then we also
have some curling, which we can also use and just like some general twisting. For the twisting, I like to add a variance, modified to it. Actually, let's also do that
for the curling and for our folding because it's all about just like
adding variation. Now, as you can see, we don't have a lot of
leaves right now, but that's because we
need to increase it. Before I do that, let's go
to orientation over here, and let's just go
ahead and have a look. So first of all, let's try to just
play around with line that does seem
to work a bit better. I'm going to go in my align
and add some variants just to give it a bit of
variation. Let's see. Our folding, in this case, only rotate stuff
and our facing, I probably want to keep
that to zero because it doesn't often add
much good stuff. Now I want to probably start
working on our generation. Oh, by the way, you can control the X Y and Z scale randomized in here,
which is kind of cool. So I can do that in
here, but I can also. So this will give a
slight variation. I can also go now to generate, and in my scale size, I can go ahead and in here,
increase the scaling. We want to make sure
that this one is good because we're going to
go ahead and apply it. To other pieces also later on. So we got this one. Now, let's go ahead and
our first and last, our first and last
is pretty good. Let's go into our collision.
Let's have a look. If I go in my
collision and in here, we can use a spare threshold. And if we lower it, I believe
we apply which one was it? Was it sphere or pivot? It was like if you lower it, it will be a little bit more
flexible with our collision. Et's go ahead and set this
one to knock out others only, which will also minimize
it, and let's have a look. Is there really serious
clipping going on? Yes, there is, so I need
to go for everything. What I often do
with this kind of situation where it's not really giving me as many leaves
as I wanted is well, the first thing that
I notice is if I go to my twigs, they
are only at the top, so I need to go to
generate and lower that First one over here. Like this and maybe also lower down the
last one a little bit. Then I was just going to go
in my leaves and if I go to my generate, I can overhear. Oh, wait because we do
alternating generation. I'm just checking limit. I believe I've never
really used this one. Well, I've used a
couple of times, but I never really
changed this amount. Over here, so I cannot
even pronounce this. We can also go for
just an absolute No, absolute, kind of, like, messes with things too much. Alternating. Give me 1 second, just to see which
one I need again to, like, apply additional
leaves to this. I end up choosing for interval. Interval still keeps
our settings intact. And then over here, right now, we have the frequency of ten. We can also over
here, set the count. If I set that to five, and I have a feeling
like we probably need to because we can kind of choose or what we can do is we can increase the amount of
branches or what we can do is we can also go in
collision and then just lower will having no collision
over here is a little bit. Just go ahead and
set this to one, two, I'm just checking to see
what looks best, basically. But what I'm worried
about is if we would go even if we would go
for that option where we go in three D
scan atlas, like, we have our autumn leaves
here, but then we don't have as many autumn leaves or maple leaves of
differences in color. That's why I kind
of want to, like, just stick with this one.
It is kind of up to you. Like, most of it, you can choose if you feel
like that it's really clear to see all of
these clipping problems. Then what you can do is you can just keep tweaking with it. I I now go into my collision, I can also tweak it by just
playing out with my rotation. So if I go in here, set
my frequency to 30, I should be able to go see my weight to here. Actually, my pivot threshold
over here, I can kind of, like, give it a little bit
more control over here. So this is like a
pretty nice amount. And then if I start
rotating stuff, hopefully, less leaves will
interact with each other. If I go in here and I go to my it would be really
cool if at one point, you can simulate leaves warping their geometry when they go against each other
and stuff like that, but that might be a
little bit too expensive. I was saying that I was going to go in here and I
was playing around with my let's start with
my orientation over here. Let's do the fault and let's add a bit more
variation to that. I'm also going to go to my
gender because I never like it when the leaves
are just at the tip. And also, by the way, over here, I feel like that I
want to go in my skin. And here we have our absolute. I'm gonna push this higher. I think at this point,
I do not really want to and also play around. Like, I don't really want
to have my branches to be this thin. There we go. Now they are a
little bit thicker. Okay, so let's see. Actually, now they
are too thick. Slow them down a little bit. Okay, so let's see. So we
have our leaves over here. I did not like having them
all the way at the tip, and we can go up here
to our last and just, like, lower that
down a little bit. Now, for the rest,
they are in, like, a pretty decent location. You can still see, like, some
leaves that are clipping, but I'm not too worried about
it at this point, but yeah, definitely, you can play around with your
pivot threshold. Maybe get a few less. Let's see. For those big branches which
are let's see these ones. I want to right click
and I want to add a cap on these points. I believe that's also let's
see this one, R geometry cap. And this one R geometry
cap I'm just checking, are these branches small
enough for me to kind of just leave it? Yeah, they are. I don't think we really
need geometry for that. Okay, so these are now
our leaves over here. I think this is like a pretty solid base to get started with. I would want to probably jumble around the larger twigs
a little bit more. So if you just go ahead
and go to our generate and we can probably
jumble it round using our rotation a little
bit more. Over here. Yeah, in general, I think
that works quite well. What I'm going to do now is I'm just going to go
ahead and I'm going to go up here and we
have our autumn leaves. We can just add new
rename yellow leaves. And then another one
rename green. Leaves. Suppose again. I will
quickly just add a Tilaps where I will basically set up all
of these leaves, and I will also apply them
here simply by going once again to our skin and just applying or adding
more leaves in here. Just like blend everything
nicely together. So let's go ahead and
kick in the Tilaps. Okay, so I just applied my
UVs to all of my branches. Now, the last thing that
I want to do is I want to fix over here like
these split UVs. This is quite
annoying because in the old version of Subspaner
this never happened. So it's a bit of
like a new problem. I had a look because the thing with Subspaer is there's
not a lot of documentation, like when something goes wrong, not a lot of documentation. And the best thing
that I could find is so I don't really care
about the last branch, but basically, we are going
here 2-4 to four in our U. And I basically want to
go the opposite way, but I need to divide
it every single time. So I need to go
over here from two. And then here one, I
want to go for four. And then this one, I
want to go to eight. And as you can see, that kind of fixture, it's not perfect. But then what I'm hoping
because now, of course, it's really tied that Unreal, I can just kind of like
tie it in a different way. Worse case, if this
still doesn't work, then in Unreal,
I'm just going to throw in a worldspace texture. Like then I'm just not
going to bother with it. But I wanted to try and give you guys these slightly proper UVs. So I would say that now
for now, this is fine. I am definitely going to change my bark because I
just don't like the one that I have right
now, but it's a base. I'm going to go
ahead and I'm going to save my scene at this point, and we are going to get
started by exporting our tree. So we are going to export it
directly inside of unreal.
86. 86 Creating Our Trees Part3: So now that we have a tree, what we can do is we can start by exporting it
to Unreal Engine. Let's go ahead and go file
and just export the game. Exports and we
already have a speed re folder that it
still remembers. And now over here,
you can choose FBX. Or what you can do
is you can choose an actual Unreal engine file, which means that
this is specifically made so that Unreal engine
can quickly read this file. I personally, yeah, I would be okay using
the unrelenzer file because it's very
similar to the FBX file. It does often import some
settings that I don't want, but it does fix UVs. First of all, let's go into
Atlas and turn it into none. Let's turn off light maps, vertex plans, and variations.
We don't have these three. We use our own systems for that. Let's see. So none turn off
allow separate atlases. Texts, we can skip
the texture save because we are going to
import our own textures, highest only, and the rest
we can pretty much keep. So let's go ahead and just press Okay, and then we'll export. Now, while that is exporting, we can go ahead and we
can go into in real, and we can already start
by just importing some of our stuff and start by
creating our material. So if we go to texts, three in here, we can do
one that's called bark. However, I'm not yet sure
which bark I want to use, so I'm going to play around
with that first off camera. Then we will have
Autumn Leaves Yellow. Leaves. And green
Leaves. Here we go. Now, the first thing
that we need to do is we need to go into Photoshop, and we need to make sure that
our leaves are not 16 bits. So if I go in here,
image mode, see? That's what I mean.
So let's set this to. Also, I feel like translucency also
should not be 16 bits. So let's go ahead
and just also set that back and just
save it right away. The rest, it doesn't really matter if it is 16 bits or not. So here, image mode,
eight bits, safe. Image mode, eight bits safe.
And then the last one. Image mode. And it looks like
Spetre is also done. Image mode. A bit safe. Okay. Yeah, Spettr is also done. So let's go ahead and go in here, and
I will first of all, start by just dragging
in these textures. Um, for these textures, I will later on do an
optimization pass. What you can do is you can put your Alpha in the Alpha
of your roughness, or what you can do is put the Alpha or roughness
into the Alpha of your albedo, if you want to save a little
bit of texture memory. For now, I'm just going
to go ahead and drag it in like this
because I just want to get to the end result and then
I'll worry about the rest. I'm going to go
ahead and in normal, I want to flip my green channel. Roughness, I want to turn off
my SRGB, and in my Alpha, I also want to turn off my
SRGB. The rest should be fine. Let's go to the next one. Green leaves import. Once again, roughness
turn off SRGB, normal turn off flip, and Alpha turn off SRGB. And the last one is
our yellow leave. Roughness, normal. And once this is done,
I will, of course, generate a few different
variations of my trees. But I will do that simply as a timelaps because it's just pressing the
generate button. So we got those pieces here. Let's go assets,
and let's create a new folder called foliage. Just to keep things
nice and organized. I'm going to go ahead and
import my 301 ST in here. And then over here, you can
also set the LOD setup, and I'm going to go
for individual actors because I'm not going to use
foliage painting for this, and I can just go ahead
and press Import. And now give the second. I don't know how
long that will take, but I will just pass the video. Okay, our tree has imported. We want to go ahead and open it up and something very important, turn on enable nanoit and make sure to turn
on preserve area. Preserve area is made for when we have offer cut out meshes, which we will have with
our leaves over here. And yes, then you can
just press Apply. And now at least we
are not rendering 2 million vertss or something
like that. Okay, cool. So we have over here our
different materials, and those are just like
our leaf materials. At this point if you want, you can go ahead and you can drag it in and you can admire
our work so far. So I would say that,
yeah, like, of course, I'm not going to pretend
that I'm as good as the guys from mega scans who make these trees
like these trees. They are top notch. Like everything,
like, technically, just like the UVs, everything is
absolutely perfect. This is just like a basic
tree for us to use. So yeah, please do not
compare it with mega scans. I cannot beat a
foliage artist with ten years of experience
or something like that, not even close. But what I can do is I can create a basic
tree for you guys. So we have our tree over here. Now, what we're going to do
is we have our textures. We need like a foliage master. Now, if I can remember
that my plain master, I use now I'm just going
to make a new one. It's not going to
be too difficult. It's close our trainmster. You're safe. Right
click material. Called foliage master, let's just go ahead
and open it up. The only real difference
is that we just use subsurface scattering, and
that's pretty much it. So we can go to our textis autumn leaves and just
use all of these in here. Then just a few
simple things that we want is we have our
leaves over here, we are going to go ahead and add a multiply we will multiply this using
a constant t vector, which we'll call right click, convert the pemter
color overlay. This is really basic, so I'm not really going to go over what I'm doing right now and just
apply this one in here. Are normal. We often don't really need to change anything. We need to go to
our foliage master, turn on two sided and set our shading model to
two sided foliage. That's quite important
because else we have some
problems with lumen. Most of the time
we do actually get problems with lumen when
it comes to foliage, so we will fix those
when we need to. The problems mostly reside
from using rate racing along with lumen because that one is still be broken, but
that wasn't 5.1. I just updated to 5.2,
so you never know. Roughness can have a multiply. And your scale perimeter
roughness amount. With a default at one. There we go, just to give us some control over the roughness. And then over here,
we want to have a multiply in our subsurface and add another concentr vector just call this sub overlay. Then on top of this, we want
to have another multiply. With another with
this scalar parameter that we'll call sub amount. Set the default probably
to like 0.2 or something, something quite low, and just throw this into your
subsurface color. Very basic. The only thing
that we need to do now is right click and just
convert these two parameters. Base color perimeter. Normal Alpha. And when you start combining
maps later on in the Alpha, for example, it's
just as easy as just switching it out over here. Roughness, a
subsurface voted one. Okay. Yeah, that's
pretty much it. We can just go ahead and
save this and try it out. And for our tree,
we can just use, like, a main material. So here, if we just, like, grab the flats stones, duplicate this and call this one bark. And in our tree, yeah, we have a bark over here, and we were going to go ahead
and try a different one. So if I just go ahead and
textures tree bark, 02. And just give me a second. Well, actually, I will
just go ahead and just do this live, but I might later on pass the video because I'm just
going to find a different bar. So if we just go ahead and
go to our three D scans bar. So we now had something
with a lot of lines, and I just didn't
really like it. I felt like it was a
little bit too over the top, especially
with our tiling. So we might want to go for
something that's a little bit more simplistic
like this one here. In terms of our tiling, because we made it
in a two by four. Yeah, I think it's still
safer if I just go in and simply duplicate these
save us this one. Hey, I basically just find
the right bark for you. That's the important
things in life. I know. I'm not I would say I am pretty good at
making jokes in real life, but when I need to think about, everything
that I'm doing, I don't have enough time
to think about good jokes, so you guys can just listen to my stupid jokes the entire time. Flip the green channel
and just, like, turn off the SRGB, like that. Now we can go ahead and
so in our materials, I already made a bak
material, lower it down. Bk material has I don't know
why because the flag stones, they should not
have this, right? Oh, wait, sorry flat stones. Oh, okay, I thought I was I selected a different
one. That's okay. So, that's fine. We have a base color
and our normal map. I don't know if it's fine. I am not sure
because a Stonewall, I did make changes to this. I can see how it
reads and else I will just leave that one for
later. We have a base color. Oh, yeah, because our normal
map has the roughness in. Oh, that's it. That's
it. I completely forgot. So if we just go ahead
and close this stuff, our normal map over here. Let's get rid of all of these
chunk pieces. Merge there. As the roughness
in the B channel, I want to just be extra sure, so that's out saving. No. See, that's why I want
to be extra sure. In the Alpha channel,
it has the roughness. So I want to go ahead
and go in here and then RGB and for
the blue channel, I'm just going to go in
and I'm going to select everything and just press delete to basically
make it white. And then we will have
Alpha channel and in here. I will drag in my Well, I will first of all, drag
in my roughness map on top, Contra C Alpha Contra V. Now, that should save fine
because it's a TIF file. So I can see if it did
actually do that and not that I'm just thinking it
will say fine. Reimport. It did not say fine. Let's
go ahead and just go file, save a copy, and we
can just go for, like, a TGA file. Call this Bark the score, normal. And let's try again. I on purpose change the
name because, else, it can still get
confused if I just override the name. Park normal. Oh, wait, wait a minute. It might just be
that I messed up my, it needs to be default. Okay, yeah, so that's
it. Sorry about that. Yeah, so just make sure that
you set it to default and we want to turn off SRUB, yes. So I bark normal map. We also want to
go ahead and flip the green channel.
So last thing. So green contra I to flip
it and next save a copy. And re import. There we go. Okay. That one should
now be correct. So here we have a bar. We should be able to
drag this one in. This one, I can just
go ahead and delete. And because the base coal
doesn't have an alpha, it probably does
not yet like here, it just has the default metal
micronise on top of that. For now, that's fine. I'm
just going to go ahead. Later on, I will change that to, of course, the wood or
something like that. But I just want to see
how this actually works. In our master, we have
a foliage master. I'm just going to go ahead
and duplicate autumn leaves. Open it up, turn all of
this goodiness on in here. And then if we just
also go ahead and just duplicate this green leaves. Just open it up right away. Just throw it also in
here. And duplicate it. Yellow lease. We might need to do some balancing,
stuff like that, but that's just part
of environment art, so that's nothing new. Yellow lease. Base color, Alpha normal
roughness subsurface. Translucency is the same
as subsurface, by the way, in case you haven't noticed.
Alpha roughness subsurface. Okay, so my Alpha still does not seem to do any
type of cutting out, which is a bit strange. And it is because my blend
mode is supposed to be masked. I should not set
this in the opacity. I should set this in
the opacity mask. So break this link. There we go. And now save. Now you can also see that
it's actually cutting out. Okay, awesome. So we have a tree over here. We can go ahead and open it up. It's nice that it's already, like, a pretty decent scale. Not the best scale yet, so I want to change that later on. But for now, materials. If I just go isolate, oh, these are like
the little knots, but we can make those
also just bark. This one, let's these
three are leaves. So it looks like the first
one is our autumn leaves. Give the second to load. The second one is
our yellow leaves. Well, it takes really
long. And the third one is our green leaves. Next,
we have our bark. And then for my bark, I was
going to change the tiing. So this one I can just save. I can go over here and I can see that the UVs are messed up. So I think it just exportted
UVs won after all or not. I'm not sure if I just mixed up. So no, no, wait. The
UVs are correct. I think I switched
around the two textures. I think it's supposed to
be yellow and then anthem. So let's try that.
Let's go materials. Yeah, yeah, that's it. Yellow. No, huh?
It's really strange. The green leaves are, the
green leaves are also cut off. Let's go isolate. This one is supposed to be
the green leaves. So I can see some
of them working, but I feel like, yeah, some of the UVs are
still incorrect. Okay, we have no use of
all of these UV channels. You can even remove them, but I will do that later on. Um, I have a feeling like it's that my UVs are
being flipped right now. So that's, like, the
first thing that I can start focusing on pretty much everything
is, like, good. Like the three
works. Like, don't get me wrong, the three works. Let's just go in. I'm going to switch
back my leaves, and then I will just quickly
pass the video and see exactly which one is the
problem instead of you guys needing to wait and
see me figure it out. And also something
that you can also do is you can already
just go into your bag, and hopefully the tiling
is working correctly. If we tile it by an
even number, like 0.25. Here we go. Then, the tiling is working, but you need to go from
like 0.25 to 0.5, 0.75. Do not go for anything else. And also, I think the
texture is looking fine. So we can use this texture. I might want to make it
a little bit more of like darker color,
but that's about it. Okay, let me just quickly
pass the video and figure out what's going
on with our leaves. Okay, easy fix. I just
forgot to set the setting. If you export to game and
you select your tree, I turned off flip
x, and I forgot to set a flip V
texture coordinate. It's something speed does. For some reason, it flips
the UV. I don't know why. I just does that. So just have a look at these settings
and make sure to use those. And once that is done, we
have over here our leaves. Now with our leaves done, one thing that I'm
going to, first of all, focus on is our subsurface because right now
it's a little bit, if we just have a
look at the sun, you can see nothing
is shining through. I just want to go ahead and
set this one starting by one because I want to get
that nice shine through. Especially because over here, you see how light this is. This is all because the sun
just pushes through it. So if I just go ahead
and set all of these, you see that already
feels a whole lot better, just in general. The colors are intense,
to say the least. But then again, they are
really intense also in here. So I will balance them, but we need to take it
with the grain salt. Also, what the school is, we can add multiple
variations simply by swapping out textures or
swapping out our materials. If I have this, I feel
like a subsurface of one, is actually probably fine. I also do not directly see any problems with
our Lumen lighting, although I'm taking it
with a grain of salt, but it seems to be quite fine. I just really expect the
problems to be very honest. That's how it mostly goes when it comes to
foliage and lumen. I'm surprisingly
quite surprised. Anyway, we have our
tree over here. That's pretty good. Let's go
ahead and actually go in and start by a the one
button selected. Using our tree just to see
what it actually looks like. Let's say that we have
over here this tree. I do want to try and copy it. You can see that my tree
is a little bit wide, but I'm just going to
go ahead and do this. And just try and get roughly
the same silhouette, something like
this, for example. Of course, take it with a
grain of salt because we are going to go in and we are going to make a lot
of differences. But if we already go over here, you can see that over here, this is already starting
to look really good. I like the textures the
way that they are now. I do feel like that
bark in the end. I thought it was too dark, but it looks like that actually, it is not dark enough. However, once
again, take it with the grain salt because
we need to do lighting. I'm going to set
this to 1.5 for now. Just make it a little
bit lighter over here. And for the rest, I am going to just go
ahead and create one more. I will probably create one
or two more tree variations. This one over here,
I want to create one variation that's just
like a different tree, but that's like
with a thinner bark and another variation that's
like a Wi young tree. I think that would
be the best one. However, for now, you
can already go in. And in various areas, you can go in here and
just, like, start changing. So if I just go ahead
and do this one, if I go ahead and then
also use this one here, just already start seeing a little bit what
everything looks like. Don't forget to rotate
your trees around. But yeah, we spent all
this time in our blockout, making sure that we place our trees in the right location. So why not just make use of it and actually place it in
these locations specifically. And one thing that I
also want to do is, you can see that this one
is quite a bit denser in terms of the shadows
than the other one. So that's something
that we can also need to that we also just
need to have a look at. To make sure we do not apply too many shadows
to specific areas. But again, so it's
starting to get there. See already like some of the
trees, that's reading well. I think once we actually
have a lighting, this will work really well. I'm going to go
ahead and continue by creating different
tree variations. So we will have one
thin variation and one young variation that
has a lot less branches. Remember, if we
remember at the moss, the way that we are
doing that is very simple by going to our tree. And then if we just
oat x to our trunk, and if we then scroll down, here we have the random seeds. You can literally just
press randomize L or just randomize the
spines and branches. Do keep in mind that
it can be quite slow, so I do recommend that over
here that you, for example, delete these connections here before you do this so that it will not need minutes
of just regenerating. However, for now, save scene, and I'm just going to go ahead
and do a save as, kick in, time laps, and then we will go ahead and create
our three variations.
87. 87 Creating Our Tree Variations Timelapse: [No Speech]
88. 88 Creating Our Shrubs Part1: Okay, so our tees are now
placed and ready to go. Of course, we still
need to balance them, and I cannot wait to start
doing the lighting on this. I think when we actually
do the lighting on this thing, it
will look so good. But yeah, before we can do that, we need to first create
our swaps over here. And I'm just going to
go ahead and these ones are very easy because we
only need to create one, and literally it's just like simple generations to
create like a few of them. So I will do, probably
three variations. And it is very
similar to a tree. So if we, for example,
going to Speed Tree, and let's say that we open
up our very first tree, we want to do this
so that we can later on just copy some stuff over because all those
small branches that we oh where are you? All those small branches that
we spend time on placing, now we can just go ahead and later on, just
copy those over. I don't have a lot of reference, so I'm going to do this
mostly from memory. But yeah, here well, these are not really shrubs, so but it should not
be too difficult. And we can later on also use these to block our
view and everything. So anyway, here we are inside of Speedree and
now what I'm going to do with this tree open is
I'm going to go ahead and start with a new
blank file over here. And our first goal is
basically to create, like, a trunk and then to have, like, a bunch of branches because
it's like a tiny tree. Actually, our first goal
is to press save us, not even save us, save. And I'm gonna call this
Swap zero, one, and save. Okay, so right click
art Geometry Trunk. So let's go ahead
and start with that. Now, this one is
basically here to just hold our swabs and everything. So what I'm going to
do is I'm going to go ahead and let's see. Let's go to spine and lower down the absolute radius
quite a bit until it's like a pretty
small version. And it kind of depends
how big we need to make it depending on later on. So let's also go to skin, tone down our radius over here. And I'm surprised it
doesn't close all the way. I would have expected it to
close all the way at the top. Let's have a look. So I'm going to make it a
little bit smaller, probably, so I'm just
figuring out how big I want this to be to
have a solid base. And yeah, so for the rest, if we go to our skin, let's go ahead and
go to the first one. Double click over here
to place like a line, and then it really
doesn't want to do it. Interesting. Normally, you don't really
get it. Like the absolute. Basically, it just goes
based upon your radius. That's why over here, you can
see that this one is fine. I don't know why. It doesn't push it down, but I guess we can
just, like, force it by doing something like this. It's just temporarily that we need this one later on where we just can't go ahead
and, like, minimize this. So having that done, now, if I just go in here and I
basically want to steal, probably, like, the top ones. But this one has like a split, so I don't want to
completely steal it. Or, actually, maybe I want
to just grab this one. Let's grab this one. So we should be able to
just press Control C, go in here and press
Control V, and here it is. So let's first of all, grab this one for our branches, and then we will grab
the top ones to, like, have all of our
leaves and stuff like that. Okay, so as you can see, having this, right now,
nothing is really happening. This is often because we are trying to push a
lot of stuff into, like, a really small
over here layer. So let's go to our
big one over here, and let's go ahead
and first of all, in generate let's lower
down the absolute skin. Let's lower down my radius. Now let's go into generator, set the first one to be zero. The last one to be one. I'm
surprised that my trunk, I guess, now it is
all of a sudden. Maybe that's a Yeah, maybe that's a bug that now, it depends on how much
stuff we have others. I'm going to go in here and
I'm going to go ahead and set my frequency up quite a bit like this so that
we are just forcing a lot of these branches in here until the point that
you can barely even see it. Here you can see like
this is a normal person. I want to make this
branch roughly the scale of slightly smaller than
the person, I would say. Let's go ahead and go to our
trunk and now we can in here also play around a little
bit more with the radius, and you can see that because we are forcing the frequency, these bunches like to
stay in this area. Now what I'm going to do
is I'm going to force them all down by going to big, generate and actually
setting the last one. Oh wait, I cannot force
them down like that. Maybe I can force it down
by changing my length. No, I will need
to go to the big. I will need to start
by just toning down my radius quite a bit. Over here. You can see that the radius is quite stilly compared
to our base. And then I'm going to go to
my spine and I'm going to set my start angle up a
little bit because we want to force
everything up and out. Let's go back to our radius. I think this is, sorry, not a radius, our spine. I think the absolute from parent is causing some problems. Let's go ahead and tone it down, and let's just also tone down the intensity and
also our variance. Until we get something
that is quite, like, a little bit is fine, but we just want something
that's quite a lot of variation like this. Now, I probably want to set my generation over
here to something like absolute because then it gives me a little bit
more flexibility here, see, to push things
down while with interval because the interval
looks a little bit more at, like, the scaling
of your center, it tends to not allow us to, like, push stuff down a lot. So let's do something like this. Let's go back to my
trunk because now I can see that we have
that problem again, where if we go to our skin, here where we want to
make this one like a little bit like that, and now we should be able
to also know, not yet. Well, maybe we can do it. I basically want to try
and, like, hide this stuff, but I will need to go
in here in my absolute, and I will need to push the last one up a little
bit more like this. There we go. Now we finally
start to get somewhere. So it was just a little
bit of playing ground. Okay, so in terms of
the branch length, if that's a person let's
do something like this. Now if we go once
again to our skin, we want to go ahead and make
this a little bit thinner. I'm going to set zero
to my parent radius. In general, I'm just
also going to lower the radius over here so that we have mostly these
type of branches. Okay, so we have now these
base branches over here, maybe give them a little
bit more variation, but just in general, we got our branches
which are ready to have received a lot
of other stuff. Now, the first thing
that I want to do is, I just want to go ahead and I want to play a
little bit more with my forces in order to make this look a little
bit more appealing. The first thing that I
will do is, let's see. So the length is pretty similar. So let's first of
all, just go into our length. Actually,
you know what? No, no, no, the
length is not pretty similar now that I
look at it over here. Now what we want to
do is we want to make this a little bit more round. And there's two ways you
can do it, one of them, but it doesn't have
as much flexibility is by using a gravity over here. The other one is
by using a force. So if we go up here to forces, there's a bunch of
forces that we can use, and we will use a few of them. But if we use a directional
force and I don't know why. Oh, there it is. Okay, bit high. So if you use this
directional force, you can see that
basically our lands or our branches
react to the force. Now, if you go ahead
and just press E to switch to your rotate modes, we can switch this
basically up here. And now you can
see that it starts to look a lot more bendy. It doesn't matter if
you move it up or down, so you can just kind of
move it up to hide it. However, you can use your branches if you go
to forces over here. This one you can kind of use to get that effect that we have. Now, the next thing
is that here it is most of our branches, they are kind of like there's a lot of empty
space in the center, sorry, that's what
I meant to say. If I go ahead and
go to my trunk, Well, there's a few
things that I can do. I can go to big. I can tend to generate, and I can overhear use the sink option to kind
of sink things in. But then what it starts
to do is it starts, merge a lot of these
pieces together. However, that is an option
where you can like a variants. Another thing that we can
try is go into our trunk. And if we go to skin and
then overhear our radius, I want to in the end
lower it down after all, you can see because
this is so small. I'm lowering it down, and then I go to my branches
and start with the angle. Where are you?
Spine start angle. If I play around with my start
angle a little bit more, now you can see that we can
push them all over the place. There's still a little
bit here in the center, but we will go ahead and work
on that probably well now. I don't really like
this one over here, but you can just go in notes and just
quickly press the lead. If you click on
it, there you go. And then go back to generator. But yeah, we can place things around a little
bit different later on. Now the next thing,
what I'm going to do is I'm going to go
ahead and stack on a few more forces because
as far as I know this one, we already applied our noises. Over here, if you
go to noises here, you can see the late
noise we applied, the early noise,
it will basically, you can add that a little bit. It will basically
already add noise before it starts to art all
of the other generations. That's why it's
called early noise. The late noise will add everything after all
the generations. That's pretty much
like the difference. So we are just going to make this a little bit messy,
something like that. And then if you go to
forces, art force, and we probably want
to go ahead and go for a gal or a twist
force or boat. So basically, with the gal,
I cannot pronounce it. Oh, yeah this note also doesn't really matter
which direction you have. Some forces it depends
where they are located. But over here, what you
can see with this one, it kind of just like crumbles everything in while
going around. So we can go to our big
branches and go to our forces. And here we can, like, kind
of play around to that. So here you can see,
like it already, like swist a little bit like this to make it push a bit
more into the branches. Yeah, probably by hand going to, like, place a few
different ones. And there's another one
that we can sort of try and it's if we go
to forces art force, and then we have a
twist and our curl. Let's try our curl. So curling really starts
to just rotate everything, but on, like, a more
stronger level. So here you can see, I just tone this down like
it is quite strong. But it does give us that I
don't know what it is called, just like that feeling of
a round swap basically. Now, I want to try and
keep this as generic, as generated as possible. And the reason for that
is that later on we can very easily
switch things around. Over here, you can see my base. My base is really thick
right now and I want to play around with
that before I start adding all of my other branches. If we just go to our base and
just see what happens if we go to our skin and tone
down our radius a bit. Okay, so it's able to
hold up really well, of course, it does need a base. The next one is that I feel
like that my branches, they can be a little bit
closer to the ground. So if we just go
in here and set, yeah, our first is well, I guess we can just
force it a little bit. Something like that. Okay. Let's see. So we have that one. Now if we click over
here on forces, we can have a look
at the Actually, no, we can just go in
here in our forces. Let's see. So our direction, I want to probably
push my direction down a little bit to make it a
little bit more uneven. My canal, like this, you can make also like a White
bush or swap sorry, swap. I know, let's just art our branches and actually
see what happens after this. So if we go in here, we just want to go ahead
and grab all of these, CtraZ and we probably need
to add a bunch of changes. So if I just go ahead
and press Contra V first, and I first of all, want to do everything except for the let's do except
for those last two. So now if we go ahead and we
have our big ones over here, and then we have our small ones. Yeah, yeah. Let's start with the little one and let's go into our spine generate and let's get started by setting
the first all the way down. Also, it's now at interval. I might want to also set
this one to absolute, but I don't know. Yeah, let's set it to absolute. Absolute over here. And then we can go ahead and we can play around with the number. Let's set the number
two around two. Our first is going
to go just at zero. Our last, I don't want to
make my last go too far up. And of course, what I need to do is I need to start by going into my spine and lowering down over
here like the amount. Do I want to maybe maybe later on I want to control the
length of my big branches. Let's first of all, just
try to finish this. Now we have the next
one, once again, let's set this one to absolute. Or do I not want to
have all my branches, for this one, I know
that on our trees, it was important to
have the branches sitting flat like this. However, for this one,
I think it's more important to just
have them everywhere. Let's set the first to zero, keep it at absolute and
start giving all of these and our
branches over here. Then lastly, we have this one, which is where our
leaves are going to go and we want to have
quite a few leaves. And also, I want to make a
lot of stuff a lot thinner. So let's first of all, just like set this once
again to absolute, give it a lot of branches. Let's go to spine and a little bit more of
a length over here, so that it's quite
a spiky shrub. Now I'm going to go to my probably the big
ones over here, and now it's just a
matter of balancing. Careful that we don't Because everything
is based on parent, I need to, of course, make sure that they don't
accidentally mess something up. Let's go now into the second
one and probably I want to low down my intensity. Like, right now, we have
a bunch of stuff already. So this is getting there. I do feel like that over
here, all of these, they are starting a
little bit too late, but we have it set to first,
which is interesting. Oh, wait, sorry, it's
not this one, this one. The smaller twists we
have set, not to first. There we go. That's
what I was missing. So let's set this to zero so
that those go everywhere. And now let's go ahead
and have a look. I feel like my twist
is a bit too big. So here we just go to our force we can set the canal force a
little bit less. I also feel like
everything it's probably like this one is a little
bit too white, probably. I want to go to generate, no, to my spine and maybe make
it a little bit smaller, but then it's also too long, so now I need to go
to my spine actually also lower it down. There we go. I want to
be very careful that I do not mess things up. Then we have this one
for which, that's fine. I also feel like now too
much stuff is in the center, so I need to go again back, and over here we
have a variation. And I want to tone
that one down. Probably something like
around this point. I also feel like that I probably don't want to have too much stuff here
at the bottom, but I want to also make
sure that you cannot actually see the bottom because
that will look very bad. So it's like this annoying
balance to try and get. So I probably want to make
this one again lower, which ironically
means that now we need to push this up
again a little bit. And if I then make
it a little bit less long in our length Okay, now we're starting
to get somewhere. I still feel like
that over here. Let's see if we can maybe use
one of our rotation tools. We have a roll tool over here, but that one doesn't
seem to do much. Alignment, also
not let's go into generate and just see if this
rotation tool over here. No, that one only
rotates on that angle. Yeah, and our position
also doesn't do much. Yeah, I guess the only one
that we can really use is over here our variation. There we go. So
let's just do that. Okay, so next one, we have these little
twigs over here, and these ones are controlling
most of the stuff. So most likely what I
want to do is if I go my generate because I did
not want them too low, is that I pushed them
out a little bit. I then have the small
ones over here, and then I have the
super small ones, which will control all
of the other stuff. I think that at this point, we are at a point where I can start by going into our node,
and I can literally just, like, manually change a few if I feel like I really don't like their position or
something like that. Actually, this position is fine. And also something
that I feel like is that over here,
these branches, they are not really
hitting the tops, and it's because I'm going to set my last to one over here so that the branches do
actually well, maybe 0.95. So that the branches do actually hit the tops a
little bit better. And hopefully now with
these small branches, everything will just look like, like a ball or
something like that. So let's first of all, do a
save. And let's have a look. So we have these twigs, and
then we have like, Oh, wow, we even have another layer. I don't think I need
that other layer. I think this is like enough. So let's just go ahead and grab our leaves and
throw them in here. Now they are way
too big right now, so we need to just go in
and set the size scale. Quite a bit lower. Okay, that starts to look a little
bit more like a swap. We need a texture. I'm, of course, not going
to grab the same texture as we have over here because
that would feel a bit weird. I quite like these round
textures over here. So let's just go ahead and go
to our textures that come. Here we go. And I will make a new folder
in our texas folder. I will just do it in the
tree folder and I will call this Schwab leaves. And let's have a look. We want something that is
not already on a branch. You can do that if you want to basically save polygon counts, like these ones you
can definitely add. However, we are going to use
Nanite so Um, let's see. There should be like, if
we go all the way down. I can't remember they
were. Here they are. Okay. This one, um Well,
that's a banana leaf. Let's not pick like a banana leaf that's a bit too common. Fig leaf. This one looks
kind of cool over here. A little bit on the strong
side with the pat ones. And also something
that we need to think about is, of course, the colors. Like do we want to go for Like this one is
actually quite good. So we have the European
ladder nut leaves. Do we have more variations
of those by any chance? Else I will make
some variations. But this one is quite good. Like, it's yellow. It has these nice things. Yes, it's on the
branch, but we can just cut away from the branch. I was hoping that it maybe has a few different variations, but it looks like that
we are out of luck. Yeah, Okay so let's just use
this one and let's create a variation that's also
green. Where are you? This one over here.
So once again, we can grab Albedo, normal roughness,
translucency and opacity. You can go ahead and just
dragging those in here. Let's go to speed
tree. New material. Rename this to leaves.
Just press Okay. Two sided, Albedo, Alpha
and normal to be ded. And then if we go to
our cutout meshes, let's go ahead and go for
probably four is enough. At that point, you
cannot really see the difference between
them anymore anyway. And then for this one,
what we want to do is we simply want to go ahead and move our pivot point here, and then just like, cut it
away from the branches. So I can push this one here. This one here, this one here, here, here and here,
and that's it. Give it a little bit of tesselation just to be able
to bend things a little bit, and we can just go
ahead and do this. Now, luckily, there is already
a green one here, maybe, although I do think I will also need to make a variation
where everything is green because else everything
will look to monotone. We want to make some
variations or try to get some variations in leaf color to make stuff less monotone. That's why right now,
all of those trees are also still these really
colorful colors. But after we have done,
the base lighting, we are going to go in
and we are going to make some of the tweet like different colors and
stuff like that. Like green and stuff. Just to make it look extra good. Um, I'm going to just use
like this one over here. A bit of tesselation. And I'm quite curious to see how
this one's going to look. I have not used
this leaf before, and these techniques are quite new that I'm using
right now for at least, they are not quite
new as in they have, of course, existed
for a long time, but they are techniques
that I've only learned quite recently myself and started to just
improve upon it. Because, of course, I
also learn a tutoils. The only thing is
I don't want to just copy a tutoil so of course, I try to give it my own flare, but sometimes something
as basic I just like, creating a shrub. There isn't too much to it. So we got our leaves over here. We can just go ahead and drag
this onto our leaf meshes. Nice. Yeah, I think
that can work. Skin. Leaves, and we have four, one, two, three, four. Let's go ahead and just
remove everything else. And then we want to go ahead
and go for number one. Number two, number three, number four, and don't forget to set this one back to
one, and there we go. Okay, so that's working quite
well. We have our strps. There is some empty
spots over here, but we can probably
move some stuff around. So what I would do is I would,
for example, go in here. It's call the node mode. And just do stuff like this. Also, I'm not. Oh, God. CanandoTk you. Going to do another one.
Bend it down a bit. So basically, yes,
I got this now. The only thing that
I'm not really a big fan of is that I can see my branches so well. Like, over here,
it's not too bad, but I feel like that
often in real life. Like, everything is
just covered by leaves, so you don't really are able. Well, here you can see the
branches, but those are tees. But in swaps, I often
don't really get that same feeling.
Okay, fair enough. You can see them a little bit, but I don't really like it, so I'm just going to try and minimize that
a little bit more. I feel like the
thickness is super fair. I think I just want
to, like, scatter stuff around a little bit more. So let's see. So we
have over here we have these twigs, and then
we have these ones. If I increase these ones and
decrease these ones just to compensate, that might work. Also, how is my collision? Right now, I'm completely
ignoring my collision. If I turn on my
collision, you know what? If I turn on my collision and
then increase these ones, generate is from 0.1 to 0.95. If I go ahead and set
this to four Okay, four just like creates a bow. Oh, God. I did not mean
to press five or six. Let's do three. If this doesn't so I don't think I will
be happy with this. So I think what I
want to do is I want to lower back down my absolute, and then I'm going to here. So let's just go ahead and
lower that down to two. Then what I'm going to do is I'm going to use these twigs, and I'm basically going
to mostly push them up a little bit
and and just make them look up by
going into a spine. Maybe we can just use a force because the spine isn't
working. Let's go direction. Let's see. So we
got this one, okay? So now we are looking up
into it. That's pretty good. We can also just play out
a little bit more with our canal to give
it maybe, like, a little bit of,
like, a rotation, just to make it feel like
it is going with the flow. Let's see. We have
our twigs over here. And then we have our leaves. For our leaves, right now,
they are all pointing up. Maybe I want to tone them
down a little bit more. So let's go into our
generate or orientation. Actually, let's go
into our orientation. Let's play around a
little bit more with like I'm just trying to see which one works best. It looks like that most of our forces are not
really going well. I can use direction and then, actually go into the minus to push my direction down a bit. Yeah, that reads quite well. Okay, so we got this one. Yeah, the only thing that
I still don't like is that we have some of these
empty spots over here. Now, what you could also do is you could also add
some hand painting, but most time the hand painting
doesn't really work if we then also add or if
we are generating it. So I can go over
here to free hand. I can hold, I believe
it was space. No, wait. It's in control. Yeah, here, because
it already exists. I was hoping that I
can dd additional one. But I'm afraid that that's
not going to happen. Then it might just be better. Oh, wait, sorry, I'm
in bent. That's why. Let's do Hendra. Well, it did paint something, but not exactly
what I was hoping. The problem is that I
would need to duplicate this entire row of stuff
if I just want to andra. That's why I'm not really
in the mood for that. Instead, what I'm going to
do is I'm going to try and see if I can maybe select some of my twigs over here and then just do a
little bit more manual work. Note, come on, by moving it up, rotating it to basically cover the places
that I do not like. So it's a really cheap
way of doing it. And also what I can do,
sometimes I can just delete one. This one, for example, here,
I don't really like it, so I can see, cover the places that
I don't really like that is still a
totally fine option. That's one I'm going to
delete, let's have a look. That looks good. Over here, how do you do it again. There is a way to change
your light direction. Added like properties.
Oh, wait, no, wait. You can hold C. Was shift
hold space, something. There was something
that you can do too. I don't know. I'm sorry. I've completely forgot how
to rotate my light route. There was a way to do
it. I just forgot. Please forgive me. But anyway, I'm talking too much about just
this random stuff. I'm going to go in, and
I'm just going to go ahead and fix these
last few things. So this one I'm
going to get rid of. This one I'm going to get
rid of. And maybe this one. That one I might not
want to get rid of just because it causes
a lot of leaves, but you can go in and you can
set the length over here. To still add some leaves at the bottom without needing
that entire branch. Let's try something like this. Let's just see what
it looks like from this point on. So
we got this one. Now all of our branches
should be automatically UV, so you can just quickly check in the UV and make sure that
everything is set to automatic. At that point, we
don't really need to worry too much about these UVs. We do need to create
some kind of a branch. So what I'm going to
do is I'm just going to go ahead and save my scene. Go to my tree, click on bark, and then go down
here and press Copy. And if I go back to my shrub, I can just go ahead and go
down here and I can say, paste, and it should just
Oh, it just overwrites it. I expected it to
not override it. In that case, add a new Bark. It's like small stuff like
that that I just forget, so I do apologize. But we now have a bark and we
can just drag this bark on our Tunk and just
replace branch material, and then all of these materials. Now, what I'm, of course,
going to do then inside of unreal is I will
go ahead and just change the color to make it a little bit more like a darker. So let's start with
something like this. Let's see how it
looks. If we need to add more or less leaves
inside of unreel. So for now, we can go ahead
and we can export the game. Schwab, 01. Yeah, that's
a totally fine name. Flip VCords none. Okay, that's all good.
Let's press Okay. And let's go ahead
and go into In reel, and let's get started by, I move over here, going into our textures, and in three, let's go ahead and just create another folder. Schwab leaves over here. Now remember, there
was some stuff that we need to do in Photoshop. So it was the albedo image mode, eight bits, and it was also
the translucent image mode, eight bits and save you see. Now we can just go in
here and for now we can just import these roughness, turn off as RGB, normal, flip the green channel. An Alpha, turn off SRGB. If you ever make this
mistake, you will get arrows, but it will throw you an arrow, so you will see it
in your material. Let's go ahead and grab
yellow leaves, duplicate. Shrub. Leaves. And let's
just replace our stuff. We have base color, Alpha
normal roughness, translucent. Then we're also going to go
to M materials and do bark, and just duplicate
it and call it bark on the score, dark,
which rhymes. Then just go ahead and make this more like a brownish color, something like that, just
to get started with. Foliage. I'm going
to go ahead and navigate to my speed re folder and import my swap
01. And let's pass Import. I forgot how much. Funny enough, I think this one is just
as much as our tree, just because we need to
push in so much stuff. So let me pass the video until it's done importing or
oh, it's already done. I guess I didn't have to pass. Don't forget, straight
away, turn on Nanite. First thing you
should always do. And come on. Okay, done. Now let's
go ahead and isolate, we have our leaves and the
second material is our bark, Sava sin let's have a look. If we just input this. Yeah,
it's a little bit small. You can change the scaling, although it's not that small, and most of this stuff is
also painted, isn't it? Yeah, we didn't
place it by hand. Let's go in and let's
just have a look. I'm going to go
down and over here, you have your import settings
and your asset import data. Then if you go to mesh, here
you can see your tree scale. If I set it to 35, it's quite sensitive and
then just press reimport. What it will do is it build or it should scale
it up a little bit. And else we are just going to use scaling because
we're pretty close. But just because I'm too lazy to go inside a
painter or speed read and, like, change the scaling,
but it should work. I'm just worried that
whenever I say that, that nothing seems to work. I don't know if I don't know
if maybe I need to go, like, a little bit larger.
Let's try 45. Okay, regretfully, we are not able to change
the scale in here. I do know, however,
which I forgot in the moment that when you export, you can
set your scale there. So if you do this, you can go over here and you can
set the scale to 1.3. And then just press
Okay, and then it will export with that
additional scale. I don't know yet, you would
expect that over here, the tree scale, it
can set, but I will. So we just kind of scale
it up a little bit, and then we are going to have
a really close look at it. I think the first thing is that I feel like that maybe making our leaves a little bit
bigger would be nice. And while it is waiting, I can already go in here. Like if I just go to my leaves
and just set the generate, and here we have our size
scaler and make them a little bit bigger, like this. And then, of course, we have a collision, but
that should be fine. By, t's just here, see, now it does import a
little bit larger. Anyway, we have over here a swap I think that's
looking really nice, especially over here,
when the light hits it. I do not feel like there's too much of an overpowering
of our branches. I do feel our branches are
a little bit too dark, which is making them a
little bit too overpowered. But if we go in here,
I just tone this down. Like this. I think that will
do a pretty good job. Yeah. Also, from a distance, it
reads really, really well. The only thing that I
wanted to do is, yes, I wanted to scale
things up a little bit. So if we export this
once more, over here. And then we can just
go ahead and we can right click and
just re import it. I think that after that,
it will read quite well. Now, what I'm also
going to do is I'm just going to show you very quickly how to create a green
collar variation, it's a messy technique
of doing it, but it does technically work. So here we have our
yellow variation. Give the second to re import. Here we go. Yeah, I think bigger leaves
does work a bit better. Although yeah, yeah, I
think that works better. Okay, cool. So anyway, let's say that we go ahead
and we duplicate this and we have another one that's
nicely sitting next to it, but this one has not yet gone
over into becoming yellow. Let's make it a bit bigger
to make it more realistic. What we can do is if we
just go into our textures, we can go to our swab leaves, grab the albedo, duplicate it. Swap. The leaves underscore. Green underscore. Well, albedo base color. I'm just going to call
it baselor for now. And then what I want
to do is I basically want to go in and just low down my saturation to like 0.5
or something like that. And then if I go
into my materials and just duplicate
my swap leaves material, On the score. Green and double click on it, and then you guessed it, assign that new base color. And this base color, I will most likely also throw it
in my translucency, actually, on my subsurface. Then what I can do is I can
now go in and for this one, I can, for example, just
drag in these new leaves. And I can then, first of all, start with a color overlay
of the leaves in here. But what will matter more is the subsurface color overlay. So you can see
that if I do this, and I balance it out a bit, may make it a little bit darker. It might be a little bit
messy, but it does work. And let's say the green leaves
are a little bit thicker, so they let in a
little bit less light so I can make the
subsurface to one. And there we go. Now
you can see that now when you are
dressing out your scene, if you have these multiple different shrubs that are quite close together and you can move a little bit more
in a train and here. And then these ones over here, we can use to also block our view because you cannot
really look through them. So they are great
to quite naturally, like you can see over here, they can quite naturally
like block the view. Just like that. See? I feel that that
is quite convincing. Also what you can twice sometimes if you
place one into another, it does mean a lot of clipping. But for presentation purposes, having a yellow one inside
of a green one, see, creates a little bit of this
interesting presentation, which yeah from a distance, it will read a little bit
better than from a close, but does work and you also
have a lot of flexibility like the scaling with
these kind of assets. So there we go. Okay.
Awesome. Now that we know how to make
this swap yes, it often takes a little bit more time
to get it to look white. Like a lot more tweaking, as you might have
noticed, but in the end, you do get quite a nice effect. Yeah, it's really nice that
we can literally just, like, use almost well, physically, almost as many branches
as in real life. As you can see over here, we
have a few different scales. We have this one. I said that I was going to make like
three different variations. So let's go ahead and
just continue on with those three different
variations in a time laps. And once that is
done, what we'll do is we will probably
start focusing a little bit more on grass and then we can focus
on our lighting. Let's go ahead and continue with this in our next chapter.
89. 89 Creating Our Shrubs Part2 Timelapse: [No Speech]
90. 90 Creating Our Grass: Okay, so we have now finished placing our trees and
over here our shrubs. And yeah, it's
looking pretty good. Of course, like, we definitely
need to do lighting. Like, over here, it's really, really dark and
that kind of stuff. But that's something that we
are going to work on later. What I want to do
in this chapter is, I just want to go
ahead and work on some grass because it would be nice if we
just have, like, some grass scattered around once again because it's grass
and because we have Nanite, we are just going to
go crazy and, like, have actual yum tree grass
and stuff like that. So let's go ahead and
open up speed tree. And we are going to get
started with just like a simple blank over here. So for the grass,
we don't want to create a really large
amount of grass. We are just going to create
a small little cluster. And that cluster, because
we can move it and rotate it and scale
it and everything, it will basically
be enough to just, like, place our
grass everywhere. Now, for grass, we pretty much need quite quickly
already a texture. So let's go to textures, and I will go ahead and yeah, I will just place it on a tree. I will later on just change the name tree to like foliage. And let's do grass. And let's have a look what
texts.com has for us. So scan it let's Grass. Okay, so here you can
see that we actually have like grass that is, like, individual strains
and stuff like that. Now, I want something that maybe like
something like this, like that there are still, like, a few of them here and there. Although no way.
Actually, yeah, yeah, I am going to go fill on, like, just individual ones. Um maybe this one would be good. Yeah, let's do this
one over here. Now, as you can imagine, it will take quite a while for us, yeah, you can easily go for 512, just in case I will go for 1024. You can easily go ahead
and no, not easily. You can imagine, sorry, it's morning here, so
I'm just warming up. You can imagine that
it will take a while to place all of these
meshes over here. Now, I'm just going to
have my translucency and my Alpha here. Have lu. So basically the way that works in here is that we have a tree, and for grass, we are
basically going to wide away, first of all, create
a little zone. And with a zone, what
we can do is if we just move it to the center,
it's just an area. Like, this was a
really large zone. However, if we just
create this zone, we can, like, cluster
everything in here. Next, what I'm going to do is
I'm going to add geometry, and we should be able to
just simply add some leaves. So here we have our leaves. Now, the first thing is that
they are always sideways. So if we go into
our orientation, we want to go ahead and
set the align to one. And now at this point, well, I think I probably
just go ahead, need to go ahead and
create some meshes, but you can imagine that if we go ahead and
go and do this, we can create some
wily gol stuff when we actually play
around with our number. So for now, materials, art new rename grass. Okay. Striking our
textures off a normal. Make sure to a two sided. And I will just show you
one. And then after that, I will just pass the video, and I will just do all of them. So you know how to do it by now, like our leaves, we
place our position here. For the grass, you just want
to go ahead and you want to try not make it too hipoly
so I'm just trying to, like, do it with as little
jon try as possible. Something like this,
it's fine to have also this empty space in here, and grass does definitely
need to bend quite a bit. So we do want to go in and then, that's an interesting bug, where it loses some of it over here. That just pushes
out. There we go. For some reason, that
was a bit strange. We do definitely need
some geometry in here because we need to be
able to bend this quite a bit. I think this kind of geometry, maybe a little bit more,
and that should be fine. And then we're just going
to go ahead and art this. And once we place this on here, you can see that now we have, one thin little grass
strain that we can use, and we can take it from there. So I will just go ahead and
I will art I don't know, one, two, three, four, five, let's do six. I will go ahead and art
six, so let me just pass the video and Atos. Okay, so I'm done, so
I got a bunch of them. Now, what I'm going to do is over here we have our leaves, and if we go into our skin, we can go up here and
we have one, two, three, six, one, two, three, four, five, six. So let's go ahead
and all of them, and then they can just be
grass and then number one, grass number two, and you
guys did grass number three. Grass number four.
Grass number five. Don't have to worry. Like, it
actually changes the mesh. So your mesh is no longer this
thick and stuff like that. It's not like you need
to do any type of scaling and number
six. Okay, cool. So now it's just a matter of us, playing around with
a bunch of stuff. So one of the first things
that I'm going to do is, I'm just going to sing
this into the ground a little bit over here, just so that it's like Willie
sitting into the ground. And next what I'm
going to do is, I'm just going to go
ahead and start by adding a bunch of them. Probably like this.
Like, we want to have probably quite dense crass. So let's start with
something like this. Then we can use our last to basically create makes
like a little bit of, like, a smaller cluster. And we can use our variation to play around with it a
bit. And let's have a look. So let's first, wiggle around
our size scalar variance. Size scalar. Sorry about that. I meant to say my 1 second. Let me just turn it down.
I'm in the wrong one. I meant to say my Align
variance, but of course, we have leaves so our
align variance is in a different location. 1 second. Let's let's start with fault. Let's start with fault and
just keep adding variances. It's quite important
that we add variances to this to give it like
a bunch of variation. Also over here. You see here, I'm just keep adding variation. Phase, that's one I
can probably leave. Then if we just go
ahead and scroll down over here we
have our folding, which will just slightly fold our meshes. We
also want to do that. And once again,
add some variance. Maybe lower that
one a little bit. We have our curling over here. Curling is quite good because then when our grass is long, we can definitely
change that a bit. We have some twisting. Yeah,
twisting is also nice. Let's add some variance to that. Our vertex amount will just like break up the general
shapes a little bit more. So we can definitely
also add a bit of that. And now we have our scale. So what our scale over here, we have our YXs. And that's one where
I pretty much, want to go ahead and just
push this up with quite a lot of variants Over here, I can also see that my vertex
is a little bit too strong. I think some other
kind of ending. But yeah, we're slowly
getting there where we just have like this grass bit. I'm going to also
go ahead and just give it a little
bit of variance in my X and Z scale. Let's lower this one down. Let's lower down the
X and Z a little bit more so that we make
it a little bit thinner. Okay. Now what I'm going to do is I'm going to
go ahead and yeah, we don't really need any
type of forces for this. You can go ahead and maybe add some twisting or gnarling
or something like that. In my case, I'm just going to
go ahead and look maybe add some general scaling
variation up here like this. Let's see where I'm folding. Maybe let's have a look at generate jumble moves
things around a bit. What I'm not really happy about is that we have this
one that's really, really thick and I don't feel
like that is super logical. Also, what I want to do is I probably want to
go ahead and push my last in a little bit more and my first out a little bit
more, something like this. Now we also have having a look, I think, for this, I need
to go to orientation. Yeah, here. So align can
basically, push things out. So if I just in my align, play around a little
bit more with my variants, There we go. Oh, and I definitely
to go into generator. Let's set the first, a little
bit back. There we go. Last maybe also. Okay, so let's now just fix that
one leaf over here, for which most
likely we just need to go to scaling and
let's have a look. So yeah, it's in
this one over here. If I push this one, there's only so much
I can do, of course. Like, if it's a little
bit here, that's fine. Push this one down.
And let's see. So I feel like I also
kind of want to, like lower down the scale of it. Something like this, I
think will work quite well. I'm not completely sure
if it is dense enough, but often it's just easier if
we just literally check it out inside of unreal engine. So for now, let's
just go at the save. Grass. And then
in unreal engine, we know soon enough
if it's like to dense or if we need
to add more grass, less grass, all that stuff. So let's just go
ahead and export it and just call it grass. Underscore 01 in case we need
to create more variations. I'm going to set my
scale back to one because remember we changed
the scaling for our shrubs. Now if we go ahead
and go in here, three Grass, and I will clean
up the naming of that soon. And don't forget our
albedo and translucency. Image Mode, eight bits, safe Image mode, eight bits. Safe. Okay. We can go ahead
and just import that stuff. Roughness, we want to turn
off our SRGB, normal, we want to flip it around, and Alpha, we want to
turn off our SRGB. Now let's go into our assets
and foliage and give me a second to navigate to our
Exports folder Gras 01. LOD setup. This one will
be painted foliage, because we're
definitely going to, like, paint all of this stuff. This does not mean that
we cannot set it up, but it's just here so
that we can place it. That is still a little bit
too small to be honest. But let's first of all,
just do some stuff. Turn on our nanite
and preserve area. Let's go to our
materials and just grab our green leaves and duplicate
and call this grass. Throw this in here in
our material and save. Let's open it up and
throw in our texture, base color, Alpha, normal
roughness, translucency. Let's set the sub
amount back to one. And let's have a look.
So it is looking good. Yeah, I quite like the density. It has some really
nice over here you like some really
nice shine through. Let's make it like double
as big? No, not double. Let's do 1.5 as big. I think that's actually
all that we need to do. So if we just go ahead and
go in here, export it again. Grass zero, one, 1.5 and export, and then we can go in here and then just navigate
to our grass right click reimport. Yeah, I
think that works well. Okay. Awesome. So
for this grass, we definitely want to make
use of our foliage painting. So if we go into our foliage
painting, drag it in here. And then what you want
to do is something that you can see over here is that I added these foliage types. You can see that
I have two types in case you did not see it in the Taps just so that you know, I have two types over here,
one is yellow, one is green. The only difference
is that I simply I did this, which
I'm going to do now. So you can right click and you can save something
as a foliage type. And I choose where to save it. And this way, it is not a mesh, but an actual foliage type, which means that it will
save all these settings. Then all I did is I duplicated those
foliage types that you have over here and created one that was yellow and
one that was green. And the only difference is that you go to over white materials, and you simply input
your green materials instead of your yellow ones. So but it's something that
you can definitely see in the TnpsO you can see it in the bonus material of
the untimnaps versions. Anyway, for now, let's go
ahead and focus on our grass. Because we have one
piece of grass, we need to have quite a
bit of difference in it. So I'm going to set my
scaling to like 0.6, probably, and 1.5 to
get started with. Now, down here, this
will basically just, like, balance out the scaling, like it will pick a random
scale between these values. Down here, we have the
random pitch angle, which will give it a
slight random angle. Let's set this to like 0.5 for now and also turn on activate, and then we can just
kind of paint it around. Now, the first thing I
notice now is that if I'm painting it, not
much is happening. I can get started by setting
my pay density to one, and if then still
nothing is happening, you want to go up
here into the density per kilometer and set
this quite high to, like, 600, for example. Now when you paint, you can see that you paint
in quite a bit more. We ought to go probably
even for 1,500. Here, see, now we are
starting to paint in a little bit more of that grass. And you can see that
it's looking quite good. I would say that overall, I'm going to make my
grass max to 1.2 maybe, and my minimum is probably good. So here you can
see our grass now, if I set my random pitch
angle to like five, you can see that now here see, it starts to bend
a little bit more. Let's set it to like 20,
just to see what it does. You can see that with
20, it starts to, like, rotate quite heavily. But I quite like having it rotate quite
heavily like that. So you can see how easy
it is also to, like, just paint some grass in, and it will look realistic
quite fast like this. This is because it
also does, like, random rotations and everything whenever we paint in our grass, and it does it
automatically. I'm not sure. Um, yeah, here, it just
does it automatically. I don't know. There
isn't really an option, I think that we can change this. I've never actually tried
to. Anyway, in mobility, we want to go ahead and press effect distance feels lighting. This sometimes with grass
does create some bugs, but it looks like that in 5.2, they fix those problems. The shadows are quite dark, but that's something
that we're going to work on later also. For the rest, yeah, that should be pretty much it. Like, we don't need
to say movable. It can just be a static asset. So let's just go ahead and start by painting this
in in some areas. I'm going to get
started by just, like, lowering down my brush size
quite a bit to, like, ten. And then, like, stop at
just like painting it in. Close to our stones
and stuff like that. I feel like it would
make sense to have grass in between our stones. If the lighting is annoying, oh, I was going to say
you can go to unlit mode, but I guess because
the grass is so fine, it's quite difficult to even
see stuff in unlit mode. Then for now, just like
you can always fix it later on when we do our lighting because that's going to
be the next chapter. We are going to do our
first lighting pass. After that, we are going to go ahead and complete
all of our models. Once that is done, I feel like over
here, I probably want to have a little bit less grass. Yeah, like that.
Once that is done, we are going to do
a polishing phase. And well, we'll
take it from there. Whatever we need to do decals. We need to do some
project cleanup, but we are getting
quite close to the end. So I hope that you're
also excited about that. This has been quite
a large util, even for my standards, it's quite exhausting to
create a tutorial this large. So I will be quite happy
when I'm done with it, but a really good
skill to have in life is that even when you really want to be done with it, make sure to not make the
quality suffer because of it. So whenever you feel like, Oh, I really want to be
done with this project, just still take a second to really think about it
and make sure that you did not get your quality to safer
or something like that. Now, probably at this point, you will probably not
be able to see much of the grass anymore because we
will not have camera angles. So at this point, I'm
going to go ahead and set this one to 30. And then, of course,
where there is like dirt, I want to probably have
a little bit less. So if I just go to unlit mode, I'm basically going to go in. And just like in the areas
where there's grass, I am going to paint in just
like a bunch of grass. And it can be a little bit in the dirt, just not too much. And at this point, we're
going to go ahead to set two like something
quite large, like 80, just to cover large areas in case our camera
can see these areas. We just have, like, a bunch of grass here
because once again, long lived nanite and also foliage painting is cheaper than just like placing
your extra assets here. So we can literally just go in. Let's go back to lid mode. And basically play some grass. And then later on what you
can also do is you can also set your density a
little bit higher. And then in some areas you can make it
more or less dense. I do also want to do that, but I want to do that when I actually know on
my camera angles, which will come a little bit later when we actually start doing the lighting
and stuff also. But for now, this is fine. Like, I don't think at this
point that you can see much. So just check over
here and here, you can see, like, a
nice bit of, like, the grass, a little
bit more grass there. But in general, that's working
quite well. Okay, awesome. One thing that also
that I did was that I placed some
shrubs over here. So we might want to go
ahead and simply, like, duplicate some of these
pieces later on in the polishing phase
and then just place another plane in here,
which will have dirt on it. And let's move these down a bit that they
are not floating. Awesome. Okay, so our
grass is now done, which means that at this point, we have most of our stuff done. Over here, we still
have these rocks that we got from mega scans. What you can do is
you can simply go to diffuse texture and in here, set my brightness back to one. Like this and my
saturation back to one to just bring
back those colors and then here you can see that
we instantly now have these colors here because these are just like some rocks
to block things off. I'm going to place more trees also to block off some more of that open sky because I feel like right now we see
a little bit too much sky. But it is fine to use
those mega scan rocks. You will, however, not have
them whenever you open up this project because
I'm not allowed to include anything
that is mega scans. So let's go ahead and continue to next chapter
where we are finally going to start by doing our
lighting and that will make a massive impact on our scene.
91. 91 Doing Our First Lighting Pass: Okay, so this is going to
be a pretty fun chapter. What we're going to do in this
chapter is we are going to get started by doing our
first lighting pass. So there will be multiple lighting passes,
well, probably two. Like the first one,
we'll just set down the base lighting so that we can then complete the
rest of our scene. And the second lighting pass is just part of our
polishing phase. So we have something like this. And what I want to do is
I want to try and get my lighting a little bit
more in this direction. With this, it will become in a balance between that we
need to do our lighting, and we also need to
balance out some of our materials to basically
get to this point. We will not probably,
I rarely have it, that I can get my lighting perfect in the very
first pass because there's a bunch of stuff that we need to do to enhance details. But we'll try to get
pretty close to that. Now, what I like to do before I start doing my lighting is, first of all, I like to just go ahead and clean some stuff up. Over here, we have a
lighting folder that automatically comes
with the scene, and I'm just going to delete it. We are going to go for,
like, a fresh start. I'm going to select my cameras, press this little plus button to add a folder and
call this folder. Um, Okay, boss. And then if I just go ahead
and go down here and just scroll down and just
keep double checking. Okay, so here's
post posses volume. Let's get rid of that
one. We do not need that. And let's go ahead and scroll down because I want to basically throw all of
my assets into one. Yeah, these are all assets. So let's go ahead and
throw these all into one folder to keep things a
little bit more organized. And I would call this assets. Okay, and I'm going to
create a new folder called lighting. There we go. The first thing that
I want to do is I want to just quickly show you guys if we go ahead and go
to our project settings. We already did this at
the very beginning, but in case you missed
that, I just want to make extra sure that we all
have the same settings. Now we don't really
need to look at these. The ones that you want to
look at is if you just go ahead and here we go. I turned off enable
virtual texture support. For the rest, dynamic global
ilmation is at the lumen, reflection mode is set to lumen and for the rest
these two are turned off. If you want, you
can sit it's a 256. I do like to always push my
reflections a little bit, but it does mean
that it needs to recalculate some of
our reflections. Then we have use hardware rate racing when
available, it's turned on. That one is quite
important because lumen greatly improves whenever we add actual hardware
rate racing to it. Of course, it's a
performance hit, but because we are working
with quite an optimized scene, except for maybe like
the Nanite the Nante is really a lot, but just in general, text and everything are
really optimized. We want that on. Lighting
mode, surface cache. It lighting for reflexion? No, I think surface
case is fine. Yeah, because it's a
better performance, as you can see over here. This mode over here, it
gives a worse performance, but I don't think
there's much difference because we aren't going to
have super high reflections. High quality
translucent reflections is turned on just to improve that software rate racing mode is going to be detailed tracing, which is the better version. I am using virtual shadow maps. Once again, support hardware
rate racing is turned on. All of this stuff
can be turned off. Pat tracing, it
doesn't really matter. You can leave it on or
off, it doesn't matter. Generate mesh distance fields is turned on and Nant, of course, turned on and I just
have static lighting and the buffer decals turned off because we do not
actually need those. Four shading is turned off and this one is by default, son. Most of these are
already by default, but that's basically
the overview. Make sure that you have
something similar to that. Now let's go ahead
and get started. The first thing that I
want to do is because we can get away with
a Wi basic sky. We don't need something
like super over the top with clouds and
all that kind of stuff. So we are just going to go
ahead and we're going to go in here and we will go to our visual effects and
just grab a sky atmosphere. Then if we also go in here, visual effects, we also want to have a exponential height for. We want to go ahead and
add a directional light, which we already do a lot. We want to go ahead and we
want to art a post effect. Let's go visual effects,
post process volume. Now you can see that everything
goes a little bit crazy, but we'll tweak that later on. And, skylight, I
think, skylight. Lights skylight over here. Of course, like here, amazing
lighting, don't you think? I think that's everything
that we need for now. So if we just go ahead
in our sky atmosphere, everything is pretty much already set to default,
which is fine. In our exponential height for, what I want to do is most of this for now,
I will leave default. So 0.2, the fork
scattering color. This one controls like
the color of our fork. I'm going to already set
it to be a little bit more like a pinkish tone. But basically, the one that I'm more focused on
is that I want to always go down and just turn
on volumetric fog over here. And yeah, for now, this is fine, like to just leave all of these
default settings. Okay, so let's go ahead and let's probably start with, like, our
directional light. That one is quite
an important one. So with our directional light, we can go ahead and
we can start by deciding like our shadows
and stuff like that. Is G to go into Oh, game mode. Um, how do I again, make these icons smaller? I always forget. There
is an option to make them smaller somewhere here. But to be honest, I kind
of forget where it is. Honestly, I'm just
going to do this. There we go. Just move
it down, move it down. And this one is
probably like it's because it's really
close to the camera. So if I just move
this one closer to our scene here, there we go. See? Easy does it. It's just because it's
really close to the screen. So if I just have this one, I'm going to go ahead
and I'm going to go find a nice angle. And if we just first of all, go in here and just set
our source angle all the way down so that we
get harsh shadows. It often makes it a
little bit easier for to see what I
want to capture. So I want something that has
a little bit of, like, yeah, something like this,
a little bit of shadow all over the place
coming for our trees, and later we can improve it. Let's go ahead and maybe, like, go down a bit. Let's see. So also, I just want to check that
my lighting is interesting. Of course, we place these trees to follow a specific lighting. However, if we happen to find a lighting that is a
little bit more interesting, like something that's
a little bit lower, for example, then we can just
add some additional trees. Because, we want to get
something like this, can see that shadows, the sun is quite high up. There isn't too much
shadows in here, so a lot of it is just overcast because of all of the trees. I want to try to get
something like that, maybe a little bit more sun just to make it
more interesting. But in general, I'm just
basically checking right now. Maybe something like this
because I quite like over here, having a little bit of shadow. Then if I can take back a
bit more of the lighting, maybe something
like this for now. Is that good? Mmm. Yeah, let's try something like this for now. Okay, cool. The first
thing I'm going to do now, I'm going to set my
mobility. Sorry to movable. My skylight actually
just make everything movable that you
can make movable. There we go. Skylight
setting that to movable actually makes a big
difference, as you can see. Ah, right now, it
doesn't need to, like, go in here and recapture. But setting it to movable
basically makes it real time. So we definitely want to do
that. Speaking of skylight, this one we probably
don't need to do much, so we can just leave it
as SLS captured scene. Um 0.5, zero point. It's why 0.7, a
little bit lower just because it controls mostly like the darkness
of our shadows. And at that point, what
we can do is we can go back to our directional
light over here. Now, my directional light, what I'm actually going
to do is because the standard lux of a
directional light, I want to get it a little
bit closer to real life. Right now it's at ten lacs. Ten Lux is really, really low for real life. Normally, what happens
is in real life, you would go and
be 200-300 lacks. But you can see that
if I go 200 lags, you can see that it blows out the lighting a little
bit more. So it is good. Maybe go even like 250
or something like that. However, now, of
course, everything is a little bit too strong, so we are going to
use our post effects to push back all
of this lighting. For now, and most of these settings is
just like I know from my head roughly which settings you often touch
and do not touch. I'm playing with
my source angle. Let's say maybe like a D 4.5. What I don't like is that I want to see some branches
or something like that. That's nice. I like
that kind of stuff. Having some rinds and stuff, as having just leaves always
feels a little bit off. Let's start with
something like this, and we might place around some trees to break
up some of the shape. Now, as you can see over here, the actual sun is really orange. Like, you can see, like,
it's really strong, especially over here, like it's quite an orange looking sun. However, because, of course, of all the trees, sorry, the overall sun gets a
little bit tone down. So this is the balance
that we try to get. First of all, let's start by
just making our sun orange, and then let's use
our post effects to basically do a bit
of color grading. I like to always
use my temperature. I don't like to use
the actual light color because this one is not
physically accurate. I'm going to go ahead
and set my temperature, and often if we want
something quite yellow, we go 30-4 thousand. If you go 3,000, you can see that that's
very, very yellow. One thing I need to keep
in mind is that I'm looking only do not look at
your at tioceen right now. Look only at the bright spots. So let's say 3,500. And just try to match up that yellow that you can
see here, maybe 3,700. No typing. 3,700. Something like this.
If you look at the bright spots,
this is what you get. Now, the cool thing
is that with this, you can do this in
the bright spots, but then in the post effect, you can basically
take away all of this yellowish color except
for where we have our sun. That's basically what
we're going to try and do. In terms of the volumetric scattering intensity down here, you can use that to basically
add more or less four. Now, as you can see over here, there isn't really any for. We maybe want to like
art a little bit of it. So maybe 1.2, just a tiny bit just to
give it a little bit more of that warmer
feeling for art scene. But I will like the soft lighting that you
can see over here. So that's what I'm going
to try and capture. Oh, sorry. Normally, I pass whenever I cough,
but I forgot to. So, I guess we can just go ahead and quickly turn
on our light shafts and our bloom effect. Set the bloom scale always
really, really low? Zero with zero, 05? It doesn't do much right now, but if you ever
happen to look into the sun, it will
just do something. And all of this, the
rest is default. So that's fine. I don't
need to really do anything. Here. Yeah, I don't really
Rate racing is going on. One sec. So racing. Turn off atmosphere or
sunlight over here because I do not want the atmosphere to be controlled by the
sun, I think, or do I? Yeah, because you
can see like that gives us a little
bit less control. Maybe it's fine. Maybe it's
fine to actually keep this. Yeah, I should be able to, like, play around with that. So let's go ahead
and leave it on just to have the atmosphere affect the sun over here, but we don't really
need to anything else. Now, I'm gonna say my
temperature maybe like 4,000. Because the atmosphere does
art a little bit more. And now let's go ahead and go
to the most important one, which will be our post effects. So of Post effects, there's a few default things that
I always like to turn on. If you want to go for
really high quality, not game quality, you can set your bloom from standard
to convolution. You can see over
Internet that actually makes quite a big difference. The standard one, it's almost
like faking the bloom. However, with the
convolution one, it is like acculy
representing the bloom. But if you drag over it, you can see that it says,
like intended for cinematics, too expensive for games. So just keep that in mind
to set the back if you ever want to turn this
into a game scene. But right now I'm going to
go for just high quality. Then if we go ahead and go
into our exposure in here, we can finally go ahead and set our exposure to control our
scene a little bit more. Now, what I'm going
to do is I am going to have a difference between
the minimum and maximum, but I'm going to set the
minimum quite a bit higher. Right now it's at minus ten. I'm going to set it to
like five or maybe seven. And then the maximum a
little bit lower to like 15. And I'm going to set my
exposure compensation to Is it just me or
is it not working? It's not doing
anything. Scroll down. Oh, I forgot to turn
on infinite extent. But then it's interesting
that the bloom did work. Where are you? Post process
volume infinite extent. That makes a big
difference. It was interesting that
the bloom did work, even though infinite
extent was not turned on. Okay, anyway, seven and 15, you can see that this one
is quite a bit darker. Let's go ahead and post
this up a little bit more. And now most of this darkness, what we're going to do is
we will most likely push it back using our color grading, although it might be a
little bit too dark, so take it to the grades. I was going to maybe,
rotate my light out a bit and maybe set my skylight for now to one because
as you can see, that will bring out a little
bit more of this lighting. So if we go to our
postpossvolum, what this exposure setting will do is it will make sure
that even if we are in a dark spot over here or in a bright spot that the
exposure suddenly changes. If I go in here, I
just want to kind of I let's do five maybe. You can see in the dark spots and give the second to load. Also, I have some shadow
problems of shadows, wait, of shadows
shining through. So that's something I will
need to fix in a bit. Now as you can see by five, you can see that our exposure stays fairly
relative everywhere. Even in the dark spots we are able to look
into the dark spots. While if we would have this
exposure at one value, there would just
be no flexibility. Now that I set this one to five, maybe six, to be honest. Let's do six. Six is probably better. So let's go ahead and set
this one to six. Now, what I'm going to
do is, well, I mean, your chromatic aberration,
this creates that lens effect. If you want, you can set
this to a very low value like 0.15 or something
like that or 0.1. And for the rest, I'm going to probably for now, image effects, we
have our vignetting here if you want to add
more less vignetting. Maybe sets 2.45 to
add a tiny bit more, but I'm going to skip
my color grading, and I just want to
go ahead and I want to check my lumen settings, and I'm going to kind
of boost them just to get the absolute best
effect possible. So for our lumen settings, what you can do is
in your quality, also turn on high
quality reflections. What you can do is
that if you drag this, your quality only
goes up until two, but you can actually
go be higher. I intend to normally
set this to six if I try to render something a
little bit more cinematic, which I want to do
for this scene. Then we have our post
effects over here. And for those, what
I want to do is I want to also set these
ones out to six, probably. Six, six. Let's set the view
distance a bit higher. Why now it's 20,000. Let's set this to, like, 50,000 to make sure that it
touches our entire scene. So just set it like W will high. And max trace distance
also like 50,000. Be else I'm worried
that maybe, like, over here the background
like these rocks, it might not catch those rocks. So that's what that
basically does. I will just increase how
long lumen is active. And now we are going to
work on our color grading. So for this scene, normally, what I do is I
normally set my color grading using color grading ut. However, this is a little bit
of an outdated technique. So what I'm going to do now is I'm going to go ahead and just use mostly our global
shadows and our temperature. Now for our temperature, this is probably a big one. What we can do over
here is we can do small balances where we can control the temperature of
our scene as you can see. When you have your
light and you make your light a really
strong yellow color, it will push through
the temperature, which will give us that effect where our sun looks
quite bright, but everything else
looks quite decent. If I just go ahead and
just track this around, I want to be just on the
level that it's starting to look a little bit yellowish. Maybe this. Wait, is that 5,000? Ah, let's get started with this. Let's start with 5,000. However, now I feel like my
son is not yellow enough, so I can go back into my son, and I can set this one
to maybe, like, 3,500. Like this. However, now
you can, of course, see that it, like, pushes everything a
little bit more yellow. So then you basically
just juggle it around, and now we go for up 5,500? Oh, no way, sorry,
up was more yellow. I need to go down,
but 4,640 700. Let's do 4,700. I think that's quite
a nice balance. Now, over here, we
have our saturation, our contrast, and the one that I like to use is
our gain over here. So if we just go ahead and
open these up in here, we can set both
our colors and we can set our overall values. Now, with the saturation, what I like to do to just give it like a
tiny hint of being a little bit more realistic
is in my saturation, I like to set this like
a tiny bit lower, 0.9. And now what you
can see is here, that just like it tones down
the saturation a little bit. Maybe 0.95, actually. Here or see, it's subtle, but having that's a little
bit more tone down, that often is what you also
see in images where it's just like there are bright colors. Like there's a lot
of color going on, but it's not like
over the top in terms of how saturated it is. We can use our
contrast mostly to, like, work in, like,
some of these areas. So for your contrast, you can just play around
with it and see if maybe we want to make
it a bit stronger. But of course, be careful
because stronger contrasts often also mean more darker. So maybe just set it to
like zero point or 1.05. Most of these values are
really sensitive, by the way. Now what we have is we
have our gain over here. So what we can do with our gain is you can control the color
to get more brightness. However, you can also control the overall light of
your bright color. And you can see that over here. It actually makes a
really strong difference. But like a low level, it just adds like
a sod color change that is slightly different than our color change that we
have in our temperature. So what I want to do is I
want to try and with this, I want to mostly try and match this color over
here a little bit. So if I have a look like it's a soft warm with
very slight blue tones. That's what I feel
like over here. Here you can also see
even with this one, it's like a lot of
warm colors because of all of the colorful trees, but there are still some
blue tones in here. So let's just try
something like that. If we go in here, I just basically carefully
moving this around. I don't want to go too
much into the green. Yeah, you can see we
can go a lot of colors. This one, maybe
maybe tiny bit this, no, tiny bit less. You just want to lay around it. Maybe something like
this looks good. It's not yet as colorful, there's a little bit too
much saturation going on. And these really dark colors
over here throw things off, but that's just
like the dirt mask. So that's something that
we want to balance out. Also, feel free to
sometimes go to a different look over here. Now, what I feel like
is happening right now is that our
directional light can be a little bit
stronger, actually. If we go up and set this
to 300. What 3,500? Oh, 350, sorry, 350. Um let's see, 350 or 300. Let's do 320. There we go. So, that's that
intensity. That's fine. Now, let's go ahead and go down. We have set our saturation
down a little bit, so that's balancing that out. Maybe I'm going to set
it a tiny bit higher. It's really sensitive.
So let's do 0.97. No, that's already too
much. 96. Of course, I'm really picky now, but I am going to
change this later on. Now, if we just go ahead and
have a look at our shadows, we have a saturation and
our gain on our shadows. Often, if you add some
saturation to your shadows, specifically, it will bring out a little bit more
color that comes from your sky and from
your surroundings. So if we set this
like maybe 1.35. Actually, there's very
little change, so 1.4 maybe. That will just bring out
a little bit more color. If you really want
to, you can also go you can make your shadows
a little bit more green. It's probably not good
if I do it in here. It's something you can do
more in your gain over here. See you can green, more blue. You can make your
shadows a little bit more like a bluish tone. What I'm going to do is
I'm going to move it a tiny bit towards blue and maybe Is there anything
else that I need to do? Maybe like increase it tiny bit to make it a little
bit less shadows? No, no, I don't want to do that. I think we already
have enough darkness. Let's give it just a tiny bit of a blue tint in it,
something like that. It will be very subtle, but just in the overall look,
that will hopefully work. Now let's go ahead and
maybe go to our highlights, which is these highlights
mostly from our light. If we just go ahead
and go to gain, we can maybe increase the
highlights a little bit more. Say 1.2 and then maybe give a
tiny bit more orange color. Yeah, because see you
can really, push it. But just like a tiny
bit more just to push that soft color. Okay, so I got this now. And honestly, for our very first pass in our settings, this
is really solid. Like, I can see already
glimpses of what I want. I definitely see the
wood over here is way too uninteresting
and stuff like that, and a lot of other stuff
I do feel like right now, I need to kind of um, it needs a tiny bit more blue and maybe a tiny bit less saturation,
something like that. It's always so tricky.
Like, lighting is such a difficult topic. I wish I was better at it. Luckily, I have a
really good friend who is really good at lighting, and I will, of course,
also ask him for feedback. So but I won't do that now, I will do that near the end. So definitely, like, go online, ask for feedback.
It's always good. No matter what experience
level you have, like, I also consider myself to be
pretty experienced artist, but I always ask for feedback. Let you know that 1 second. So we had 4,700. That's to 4,200. 4,400. 4,300 maybe. I'm just trying to
get it like 4,400. Just trying to get a little
bit more of the blue, and then I'm going to
go to my highlights, and maybe your Gamma often, well, actually, maybe we
can just use saturation. Try saturation to, like, push our lights or
our color a bit more. No, that's not working. Let's turn off saturation.
Let's try Gamma. Gamma is like, by far, the strongest one to,
like, push your colors. However, it seems that
the highlights is not able to do what I want. Yeah. Okay. Let's
just do saturation. Let's add this to 1.1 to push the colors
a little bit more. And I would say that
that's about it. So yeah, the global
settings we have. Also, you can also like some coloring inside
of your contrast, which can give you really
interesting effects like this. Like this one looks more like an old cinematic effect
and stuff like that. I'm just going to go
ahead and leave it here, maybe tiny bit bluish, but I just want to play around with my contrast a bit more. But I want to be very
careful because it can look almost like
cartoony quite quickly. So let's see. We now have something like this. Let's go ahead and actually go to our second camerngle
and have look. What I notice is that
in my second camerngle, everything feels a little
bit more desaturated now, and I just feel like the sun isn't really packing that punch that it is packing over here. And that's something
that I can only really notice whenever I'm
looking at a close up. I'm going to go ahead. Let's go first of
all in saturation. Let's set this
back to one maybe. Yeah, let's set this to one. And maybe set my temperature to 4,500 to make it a
little bit more yellow. And now I'm just
going to go ahead and go into my directional light. And I just want to push
this. Let's try 400. Ah, can I also push
the color a bit? Hey, this is quite nice. 3,500. Of course, this
is not our main shot, so take it with the grain salt, and then let's do 450. No, I think 400 is fine. Let's go back to our main
shot and just see how that that still holds up
also in our main shot. Yeah, that can work. Two more things
that I'm going to do is I'm going to
go to my cameras, select camera actor zero, and I want to art a little
bit more depth of field. Remember how over here? Oh, no, wait, we
have set it to 1.8. Let's set this to 1.2. I think it was over here.
Oh, yeah, over here, I set the current
temperature to 22. I want to set this to 1.2. Then I want to grab my
focal distance and just click on our like
scene over here. And now you can even use
this and you can see that it will add more or
less that of field. So I'm going to basically have my focal distance to be
mostly on this scene, and then in the background,
everything will just feel like a little
bit more softer. And lastly, this is one of those scenes where I really feel like using,
like, film grain. So what I can do is I can
go to my post effects. And if I scroll all the
way down to where is it? Film grain over here. Now, you will get a
bunch of settings. Basically, the settings that I want to do is I want to have these ones mid tones, highlights and the size. With this one, we
set our intensity. So if we set this quite low to 0.0 0.5, you can already
start seeing it. I want to probably
go lower, 0.3. The intensity in
the mid tones and highlights basically
dictate how much of the grain will be present in our highlights and just like
in the overall mid tones. Now, the cool thing
about this is that if we leave our shadows
higher and then lower down our mid
tones like 0.75, 0.75. What it will do is it will show more grain in our shadows, which makes sense
because it's darker, and it will show less grain
in the rest of our scene. So that gives a very
slight interesting value. The textile size,
you can control this if you would like really
big grain or small grain. I'm just gonna leave that one. One is honestly fine for this. So we have something
like this right now. Okay. Let's go value over here. Also, what you can do is you
can go up here and you can set the screen size to 100 to give it a little
bit more a crisp feel. I feel something is missing. When I see this shot, it's not yellow enough. When I see this shot, it is yellow enough. I'm just talking
about the warmth. Maybe I will push it a tiny bit more just using
my color grading. Let's go in here and
set my temperature. Yeah, I can do that.
Let's do 4,700. Then let's go over here and look at the reason I want to look at this shot is because I can
actually see like the light, and it gives me a very
similar representation of seeing the light on here. So it just gives me a good
look at how we want to be. I think that that is
pretty good for now, especially when we start adding moss and decals
and all that kind of stuff to enhance the colors. So I'm quite happy about that. One cool thing that
you can do is you can actually activate the SSAO. This is an old option, but I still really
like using it. If you go into your
post process volume, you always had like this
in nul engine four. You always this one, the ambient occlusion node. Now, right now, as you can see, nothing works, but there is a way that you can
use those commands. Now, I already
have them in here, but I will go ahead
and show them to you, it is basically men,
sorry, this one, rumen dot difusdirect
dot SSAO and sets 21. What that will do is
it will activate it. What you can also do
is you can also go into your project
and add them here. If I go to Unreal Engine JP
tutorial and go to my Config, I want to have the default
engine Default engine, yes. Right click and you want to edit it in Nopad or
something like that. In this one, what you
can do is in here, you can add this kind of stuff. Often, what you want to do
is you want to add it under the engine Rando settings. I'm just going to go
ahead and over here, I'm just going to press
Enter and set this one. Lumen dot SSO. Then what you want to do
is you want to just press is because that's how
this script reads it. Now the next one, I can
already activate this. The next one is this one. I will just go ahead
and. 1 second. Let me just go to
my default engine. This one, Lumen dot screen
Probe cater short range AO, and then you can do is zero. Now what you can
see over here is that it started to activate. One small problem, however, that we have is that
the trees over here, if I go ahead and set
this back to one, I believe, you can see that
it does affect our trees. So it's at zero over here,
which I don't really like. Now, what I can do is
I can, first of all, lower down my radius
and here you can see in these areas you can see the effect if you
make this really strong, if I set like five
Oh, no, sorry, if I go to set quality
to 100 and the power, if I make this really strong,
now you can really see it. Yeah, you can see the radius. So this is why I
wanted that to give it some general darkening
in these areas. If I now go and tone
down my strength, sell it back to one, the power, and then just tone
down your intensity. That's actually, that is
not an intended effect. I think it has to do
with our distance. If we go ahead and
let's have a look, fade out distance
and fade out radius. Let's set this
150000. Here we go. And fade out radius, 50,000. There we go. So let's just
push the hell out of it. I don't know why
this one is so dark. This one tree feels darker than everything
else, which is better. But that does solve
that problem. So if we go. Yeah, I see. So that solves the tree
problem over here. I also want to increase
normals of my tree and stuff. But let's have a look. We now start to get already
something quite interesting. And also the goal is
that if we fly around, that it also still feels nice. Right now, when I fly around, I feel like that my shadows
are a little bit too dark. And I'm quite
surprised about that because in here, the
shadows are fine. Now, this is something that
you can fix your skylight. It's also press a
recapture on our skylight. Basically, if you go in here, you can use your intensity scale or your indirect
lighting intensity. No, sorry, your intensity scale to lower down your shadows
and stuff like that. If I would go in here, oh, wait, it most likely has to
do with my go one, two, it might have something to do with
my exposure setting. I kind of like two. To feels quite good if we go for
something like two over here. The shadows are still quite. Technically, you can go into
your directional light. I don't know if it still works, but you can go to Advanced and you can set your
shadow amount here. Yeah, it looks like
that no longer works. That used to be like
a quick shortcut if you had any problems. Let's go ahead and
see if we can set our intensity scale over
here to maybe like three. Yeah, three feels a bit. And now, if I go in
here because three, of course, you can
see the difference. So if we just have a
look one and three, I'm now going to go ahead and I'm just going to make the color a little bit more of
like orange color. And I basically need
to, like, push back my one, three, one, three. Oh, wait, it's easier if I make a screenshot
because else, it's really difficult for me
to see what I need to do. Let's set this to one.
So this is what we want. Let's go ahead and create a
quick screenshot over here. And I will just open it
up on my other screen. Okay, and now if I
go to my skylight, let's set this one to three. And now let's go to
our post effects, and let's push this down. And for that, let's first of
all, start with exposure. If I set this to one to 1.2. So I'm just lowering
down my exposure. And now I want to um
let's see my temperature. I want to make it a little
bit So let's try 5,000. No, let's do 4,800. And let's go into our global let's have a look
at, like, contrast. There we go. Now we are
getting somewhere again, 1.05. But, of course, be
careful because contrast, once again, it makes shadows a little bit darker,
as you can see over here. But it's kind of
fine to have shadows really dark in here to kind
of balance things out. You can also always go into, like, fake it by going
into your shadows. And in here, you can change your gain or you can change
your Gamma over here. Now, what also sometimes
happens is that if we go into our foliage mode and we go
ahead and click on our grass, sometimes the raid racing
causes problems with our grass. If we go ahead and and turn
of visible in ray tracing. You can see that over here. That often fixes a
common problem that we have with the
rate raising where we just basically turn it off. And I don't know. It's something that for now, there isn't really a good
fix for it, unfortunately. So you can see,
turning that off, that will make
everything a little bit darker, less dark, sorry. For these settings, I
can see how impactful, but because these are pretty
large foliage pieces, I probably want to have them
in rad raising here you see? So these ones I actually
do want to have. So these read totally fine. So just only turn off the grass. That will fix those dark areas. And if we now go
ahead and go in here, we still have, we still have, like, some nice areas
going on over here. Okay. I'm going to go ahead and say
that this is pretty good. There are still going to be a polishing phase and
stuff like that. What we will do is, yeah, it's probably easier if I first go ahead and
finalize some things. We are going to go ahead
and in the next chapters, we will make this
little house here, along with some other assets. I'm going to go ahead
and do this one as narrated time naps just because there's nothing really new
that we're going to do. So I will do that one
as narrated time naps. Then I will also go ahead
and create some flags. And some of these
lamps over here. And I think at that point, what we're going to do
is we are going to start by just like
improving our scene. So we will do some
improvement passes. Those passes will
be in real time. It will be stuff like placing our actual decals and placing our leaves and
everything in our roof. And then also we are going to do polishing phase where
we are going to, like, balance out, for example, stuff like the dirt
over here and, like, more improved wood
because right now the wood, for example, it's really flat. And want to bet that if I
go in and simply change my overall roughness trade to be a little bit more shinier, that it will already make
a really big difference. Base Roughnespauer. If I go in here and
just make that a little bit less like this, you can see that
that already reads quite a bit better without
doing much at all. If you go base Roughensbauer, you see, dull,
tiny bit of shine.
92. 92 Creating Our Lights Part1 Timelapse: No. Mm. I like
93. 93 Creating Our Lights Part2 Timelapse: Hmm. Uh huh. Mm. I
94. 94 Importing Additional Assets Timelapse: A
95. 95 Scattering Our Details Part1: Okay, so let's go
ahead and continue. Now, as you might have seen
in our last time labs, I just went to art and I added some additional models
that do not really add much value in terms like if I would need
to create them by hand, but I do like just
like set dress to seen a little bit better. And I might do this a
little bit more later on if I find some more
additional good models. It's just like a
model for Mega scan. This one I just went to
the Unremarketplace, and I just bought
like some flags, and this one I just found
on our station over here. So basically, it's just a few
additional models just to set azacin and
make it a bit better. But definitely, this
one is all ours. So that one is
looking really cool. So what I want to
do is I'm going to, first of all, now focus on
our scattering systems. And then what I want to do
is I will focus on IDcals. And after that, there might
be some additional stuff, and then we will do polish. Also, speaking of our
scattering systems, think over here made
a small mistake. There we go. Okay.
Sorry about that. That was really weird.
So anyway, our moss. Now, we already have scattered
our moss over here on our stairs, which is
looking pretty good. I'm going to also
scatter them over here, and we will have pretty much
two type of moss systems. One of them is that I will most likely do some
manual painting, which allows me to kind of paint on the ground and
stuff like that, which just using
the foliage tool. And the second one
is that we will also do some more generic
moss scattering, which we will have
on these type of walls because these are
tidable walls over here. Let's go ahead and
start with, like, a very easy one, which is
going to be the sidewall. So if we just go
to our end graph, if we just go down
here to the tools, we will have our
surface scattering. And we cannot really use
this one because this one, of course, it is
based on the texture. So it has texture scattering. So if we go down here,
I just duplicate and make sure after duplicate that you right away
change the name. So Tims. Moss. Now, for this one,
I'm going to go to my surface and go down here and just press
the minus button to get rid of all of these steps because we don't
want these in here. There we go. Okay. Now what
I'm going to do so I'm just going to go ahead
and select my trims. Oh, make sure do not
accidentally move them, and we can go at dose. And then the last thing that we need to do is just go down to our texture, and then
for our texture, go to our assets trims unweel engine and just select your moss mask
over here, and that's it. That one was really
easy because we already have everything
pretty much applied. So now what I'm going to
do is I'm just going to go ahead and I'm going to
continue probably with, like, some more
generic moss systems, which we can use on the
walls and stuff like that. So if I first of all, have a look just make sure
I didn't forget anything. Okay, so now, basically
for these systems, just before I started
recording, I did a quick test, and there's a little bug because there's a little bug
inside of graven, and it basically
means that we cannot just do the duplicate
option in here. I believe the bug is that
it does not properly register when I remove my mask because this one
does not have any masks. So instead, what
is often easier, what I found was to
just go ahead and add another surface scatter
note over here. And then for this one, we will
just go ahead and we will call this one, Moss? No, generic. Mos and square 01. Let's
do something like that. And now over here you can
see that nothing has added, but you should be able to if we close this and
just open it again. But did I now lose it again? Yeah, that's like a
little bit annoying. Let's close this. Let's
try again. Scatter. Surface scatter.
Maybe it's that we first need to apply something
before it actually, we might just need to
first apply something before it actually shows
up for some reason. Anyway, generic Moss 01. Then for this one
in the surface, we can go ahead and we
can press this wall, and in the scatter,
we can select our moss and just press that. And now it should hopefully
see, now it shows up. It's too bad that we cannot change the naming of that one, but Oh, 1 second. There we go. Okay. So that is for our generic
moss over here. Now, of course, with
our generic moss, we need to go ahead and just set like a few settings again. So if I go in and also select
my old trims over here, I can often just
copy the settings. So 0.30 0.50, one. And the rest, we don't really
need to do much because I'm going to actually Uh, double check that I didn't
change anything in rotation. Yeah. The rest I
don't really need to change because I'm going to go ahead and change those myself. The only thing is that
down here, the max count. Let's start with like 60,000
or something like that. Probably even more,
probably even like 70,000, but we'll see. And what I'm going to do now is, as you can see, it fairly
much randomized it. However, I want to have this
a little bit more localized. So I want to have this
moss growing mostly from, like, corners in
areas like that. Now the way that we can
do that is we can go ahead and go over here
into our proximity mask. Then if you select the object
and press the plus sign, the moss will mostly only
grow from this area. What I can do is I can
increase the distance. Now, these edges over here
are not very realistic, so we need to go to our
edge breakup over here. Here you can basically play
around with the spread, and you can see
that over here now, then it becomes a little bit
more realistic because it just spreads out that view. I also feel that it's too small. For some reason over
here, it is too small. So I want to go in here and
go from 0.5, probably to 0.7. Yeah, that reads a bit better. So, we also still
have our noise. However, I believe that
the noise yeah yeah, here. So the noise does override it. So we have over here just like some intensity noise
and stuff like that. Feature masking. Oh, yeah, I believe it was the
angle that kind of, like, no longer works. However, we are literally
at a flat angle, so there isn't much that
we would have to do. You can see over here
that unfortunately, the graph end does not actually read these stones over here. However, from a distance for us, that's fine. You cannot
really see this. So that's just like
the thing with this being like a nana displacement that
we cannot really do that. Anyway, we can now go
to our proximity mask and just press the
plus sign also on O's. Minus sine. Let's do minus
here because I actually meant to pick the first one and
now 0.28. Here we go. Because the second one is for the top and the reason for that is because I
already tweded out. If I go in here and
also do this one, you can see that it
just instantly adds. Actually, that might
not be too bad. Yeah, it just adds
like a bunch of moles, but that might not be
too bad what I see here. Anyway, if you do this if I go here and if you minus these, and that's just three
these ones. There we go. Over here, if you pick
proximity mask two, what we can do is we have individual control
over here also. But you know what? I might
actually like having that. Yeah, you know what? I like
that. I like that most. I'm gonna go ahead and
turn off proximity mask to artist tune mask number. No, wait. No, I'm not. Sorry. I am going to do it
a little bit different. I have a good idea.
So my idea is to basically use this one
in proximity mask one. These one's in mask two,
because then over here, I can push an overlay without
changing the original mask. And that allows me to here to get like a really
interesting effect. And if I just go ahead and
go in here and then just apply this up until that point because you
cannot really see it more. And then over here, Oh, wait, I need to select these moss pieces and
just add them to surface. There we go. So
that's also working. Let's also add this
one to surface. Here, something is not something feels a bit off with this one. Yeah, the proximity mask
is really, really heavy. And if I go to mask
one and just, like, add these, I'm not
sure if it's bad. First of all, what we need to do is we need to go up
here and go for, like, 120,000 to basically
increase the amount. I'm not sure if I
would consider it bad, but I might want to, like, do this one separately. Yeah, let's set
this back to, like, a little bit higher, 90,000. And I'm going to get
rid of this one. Which is this is box three. Let's get rid of box
three over here. We can keep those
in these areas. That's fine. I do want
to increase it a bit. So let's go from 90,000
to maybe 110,000. And this is just because,
of course, we have this. Okay, that's a bit too much.
100? This is just because, like, it's on the
walls in a large area. So then, of course,
those amounts get scattered over
this large area. So, okay, we got something like that. I'm
quite happy with it. I am going to go
ahead and maybe, like, increase my scaling
a little bit more. So the max scale
to like 0.9 maybe. And the mint scale to 0.4. And I think for now, you can play around a little bit more also with your noise mask, although it doesn't seem
to do much anymore. Yeah, I guess at this point, the proximity is kind of like overtaking everything,
which is fine. Just like that happens. So for now, let's just go ahead and, let's just leave this. Okay, anyway, let's have a
look at it from distance. Yeah, I think having
that additional moss. Also, right now, you
can see that some of the moss like kind of fades
out because it is so small. If we set a screen percentage later on a little bit higher, it should read a
little bit better. You can, of course,
if you feel like, let's say it's back
to 100 for now. You can, of course, if you
feel like that you really just want more moss because it
does fade out quite quickly. You can make your moss
a little bit bigger. You can set your max scale to one just to make
it a bit bigger. But then, of course,
it also looks a little bit more denser
whenever we get closer to it. Now, anyway, so we
have a generic moss. Let's go ahead and duplicate this and call this
generic moss 02. And for this one,
I'm going to get rid of all of my surface objects, and I'm just going to go
ahead and add this one. Then I'm going to
go to my proximity, proximity two and proximity one and start by proximity two, selecting the stop pieces. Over here. Let's set
this maybe to 0.3. And then proximity one,
I'm going to go ahead and select this one over
here to add it. Now over here you can see
that we missing something, but what we can do is
we can be a little bit sneaky and
iter just grab one of these pieces and use
them as a proximity by moving them down below. Because if I go ahead and add this one to proximity
number one, you can see that now,
it just adds that. Or what we can do is
we can call this one. Here 1 second. Let's modular trim 53. Let's get rid of that. We can also do this, we can
also go ahead and select this one and add this one to
proximity mask number three, which allows us to go and
just, like, push this up. Quite a large amount. Let's go 1.2. Over here. So that's like a
bunch of moths there. And then I feel
like that proximity two is a little bit too intense. Although too intense,
maybe it's too big. So let's go down here, let's say says from 100,000 to maybe like 70,000 because that's of
course, 60,000 maybe. Because this one is only
covering this small area. Okay. So now we got our moss, which is looking pretty good. I think at this point,
that's probably all of the proximity moss that we
want to do specifically, and the rest would just
be like some painting in. And then later on we
are also going to, like, of course, ta leaves. So for now, let's close our graf N. And basically because, of course, moss, it feels a bit strange if it just ends
here and then there's, like, perfect ground below it. So we kind of want to flow
it over and later on, use decals to also
enhance that feeling. I'm going to go ahead and
go to my foliage tool, and I can just go in here
and basically drag them in. So if we go assets, here we go. Geo moss. Let's go ahead
and add these and make sure that these ones are the
only ones activated by looking at the check marks. And now what we can
do here is if we set the brush size quite low to like five I can start by just
playing around with some stuff. So, um, right now they
don't place anything, but we are sitting
on the landscape. I'm a little bit worried that it does not detect
the displacement. That's what I'm a little
bit worried about. If I paint here, no, wait. That's not the problem. The problem is
literally just like, although I think that's
not the problem. The problem is literally
that we don't have enough. Let's set the density to 500. Something really high. Let's
set the X and Y scale. Roughly the same as
we did last time. 0.3 to 0.7 or something. Okay, we need to
go a bit smaller, so 0.3 to 0.5. And let's set the
density, really high because we
want a lot of moss. So 1,200 maybe. Okay, so the scaling
is pretty much good. You can also over here set the random pitch angle
to maybe like five, which will just give us a
little bit more rotation. And now I need to go
I guess I need to go really W high because the minimum distance between foliage in, yeah, that's fine. So that one is fine. Let's go in here.
That's 5,000 maybe. I'm a little bit
worried that it is already like hitting
some kind of limit. Over here. Because
this is a small brush. If I would make
this like bigger, see how that responds. No? 5,000, maybe 99999. Yeah, see, we've hit the limit. So I had a little
look off camera about what we need
to do with the limit because I actually
never hit this limit, and I'm afraid like there's
no good solution for it. The only solution
that I could find is to basically over
here, we have, like, our pieces if we just save them as a foliage
type, which that is fine. Like, we can totally just, like, save it as a foliage
type over here. And then basically what
they advise is that we go in and we grab
our foolage types, and because these
three already exist, although we need to
turn them on like this, that we basically duplicate it. And then because everything is set at 10,000, like, really, really high, if we keep
duplicating it and adding it. I'm just going to do a quick
test by just doing this, duplicate. Over here. The logic is that
now if I turn these on that we get more foliage
painting in between here. However, for us to get
even to this point, we would need to do
this a lot of times, which is a little bit awkward. So what I'm going to do is I'm going to go ahead because it's the only way right
now as far as I can see with our procedural tools, we simply need some
hand painting. The only thing that I
can do is so I'm going to go foliage type. Now let's do moss. Duplicate. So it's a very not nice looking
way of doing things, but technically, it does work. And then over here, what I
can do is I can just go ahead and I can just duplicate this, and I will just do
one. It's fine. Over here. So we have
type one, two, three. So if I literally just
add all of these in here and make sure to
turn them on like this. I mean, I'm going
to say yes to that. This is fine. Like, I mostly
want to have it fading out. So if I just go ahead and go in here and even if the moss
like a little bit bigger, this should, this works. So basically, not a
good way of doing it, but only way I could
find to do it. I do hope that
unreal will change that because you would think
now that we have Nant, that people would want to, like, paint their foliage in way, way stronger and
stuff like that. Anyway, we have this, and
we can also go on here. For these max angles, you want to select all of them, and you want to go
down here and set the ground slope angle to 90 degrees maximum. Or,
actually, you know what? 180 even because it's moss. And now you can see
that now I can also paint I can basically
paint on everything. So I can add a little bit of moss over here in these areas
and, like, paint it on. And then I can nicely just
also paint it onto the ground. So you can definitely, spend some time just
nicely doing this. I will go in and I will just do, like, a little bit over here, and then we will go
ahead and continue on. And then in a polishing chapter, I will go in and do, like all of the moss and
stuff like that. But for now, this is fine. And Wi on these areas, we will need to just basically create some decals that will compensate and having less
moss so that there's, like, a green surface below it. But yeah, basically, like this, you can see that
definitely reads a lot better than when it just
gets cut off like over here. So that was the plan. Now that that is
done, here we go. Let's just I will do
the rest later on. But we basically have our moss systems now
pretty well in place. So yeah, that reads nicely. The next thing that I'm going
to do is we are going to go ahead and start working
on our leaves over here. So, as you can see, we have
a bunch of different leaves. They are all, like,
really nicely, like, bent and stuff like that. And most of them are just
like red and yellow. However, on the ground, you have some more
dead leaves over here. So there are two of those
variations that I want to capture some of the dead leaves and some of the red
and yellow leaves. Now, the red and yellow leaves, we already have a texts, so that is no problem. However, we would need
to go in to taxis.com, and I can remember seeing
here somewhere here. Maybe I just need
to go to leaves a collection of dead
leaves which we can use. So trees can atlas. We need to go all the way
down to leaves over here. And basically, I can
remember that's in here. There was, like, really good, like dead leaves one. I can also go in here and
just type in dead leaves. Ah, there we go.
Various dry leaves. That's what they call it dry leaves. These ones
are really small. Maybe we want to go
ahead and go for, like, some more because all of
our trees are maple trees, so maybe we want to go
for something like this, like a dry, dead
looking maple leaf. So I'm just going to go
ahead and save these dextes. So three dead leaves. And let's just go ahead and
grab the 1024 for this one. Normal roughness translucent. Alpha. And then next what
we're going to do. Just go ahead and move this. Well, actually, next what we're
going to do is very easy. We're going to, first
of all, go into our albedo and our
translucen before I forget. Image, mode, eight bits, and save. Here we go. And now, if we go
into Speed tree, but I found easiest
is because in speed trees just so easy
to create these leaves, I literal just create
them in Speed tree. And basically, what we can do
is we can just go in here, art geometry and art a simple
single leaf like this. Let's go to the
orientation and let's set the orientation as
it this one, a line? Yeah, let's just set
a line up over here. In the generate, we're going to set first and last to zero. So that's just like
one simple leaf. Can I zoom in? Thank
you. Okay, cool. Easy leaf. And then, basically what we're
going to do is later on, we can just duplicate this and just export all of
our leaves in one go. And then in three
years Max, yeah, we do need to
probably set these to be like we do need to set these up,
but that will be fine. So let's do like for
our maple leaves, we already have our
maple leaves, right? Yes. So if I go in
and open up my 301, we already have maple
and we have red leaves. So all that we need to do
is create those other ones. So if I go in here
and let's do plus. So three materials. One is red. The other one is yellow. And the last one is
dead. Press okay. So for the red one, we
can go in autumn leaves, right click and copy. And then here, we
can just paste them. And, that's too bad. Looks like that it does not copy over it does it doesn't
copy over our meshes. And I don't Well, I can
go in here, I guess. It's still faster than
doing other stuff. So if we go, and it's crashed. That's unfortunate. Let
me just remake the scene. Okay, so no to self,
do not do this. Let's do only two red leaves because else we will
have so many leaves. Let's go ahead and do
two yellow leaves. So we can go in here
and paste those. And then for our dead leaves, we want to go ahead and
just drag in albedo. Dead and yellow, Luke Oh, no, no, they are not the same. Dad. Albido Opaste. Normal, two sided. So we will have for dead leaves because we
want to have a few more. Let's go ahead and do for, like, three for now. Actually, no, you know
what? Let's go for four. Four dead leaves. Too
red and too yellow. Okay, so you probably guess what we're going to
do exactly the same stuff. Wow, it crashed
again. I recommend maybe not copying the materials. I think they just break
whenever we copy the materials. Okay, third time, Mr. Chang. This time I set up my
materials brand new. Dt. Finally, now it works. Okay. Good. And this time,
I'll also save my scene. So I'm not really
going to go over this. These leaves because
they are off the ground, try to get leaves that
are looking a little bit damaged and a little
bit, already yellowish. And it's literally
the exact same thing. It's just like how we are
going to edit them later on that I will show you that it will be
slightly different. But for now, basically
you place leaf like this over here. You give it quite a
bit of tesselation, this one, so like this. And you just go ahead
and you apply that. And then what we are going to do is when
we have this leaf, we can just go ahead and we
can, like, track this one in. And if we go to our leaves
and go to our skin, we can say red, and I want to have the red cut out over here. So now we have
like one big leaf. Now, the reason I wanted to use this is
because I can very easily fold the leaf to
make it feel more dead, I can go ahead and I
can, like, curl it. I can twist it around,
all that kind of stuff. So I can very
quickly create like a dead looking leaf like this. And then later on we just need to improve the Biv a point. So also seeing this,
it's up to you, like, I think this is probably
fine in terms of, like, polygon count because
we have 12 triangles, and we are going to have
a lot of dead leaf, so it will add up quite quickly. But if you want, you can always go in and you can always like but maybe a little
bit more tesselation, which will make it a little
bit nicer and rounder. At this point, I'm just going
to end this chapter here. In the next chapter, I will have created
all of these leaves, and then we will go over on how to export them to three is Max, properly set up their
pivot points and then get it all
into UnwelEengine, where we will start
by using once again, graph to scatter
these pieces around.
96. 96 Scattering Our Details Part2: Okay. So I have now created
all of our leaves over here. So what I'm going to
do now is two options. You can just, like, export
every leaf individually. Or what I tend to do is
I have two, four, eight. So I have eight leaves, so I can basically go in here and I can just press contre
D. One, two, three, four, five, six, seven, eight, and then what you can do is so this one is
like the first red leaf. I can then go ahead and just delete it and go to this one. And this one, oh, that's going to be confusing
that it does not line up. It's going to be the
second red leaf, and then for this one, I want to go in and maybe go for like a flat leaf
or something like that. Like you want to kind
add variations to it. And well, we can rename. So let's just rename
this and call this red on the score 02. This one I will rename. Get on the score 01. And what I will do
here is I will just already go to yellow, number one, rename yellow 01. And here I will go yellow. So yeah, it's a bit slow, but it does work. And it's still faster
than if we need to create these leaves by hand inside of threes Max and that That's 01. That's 02. That's 03, and then the last one
Rename that is 04. Okay. So that's now done.
And now you can basically go in and just
like change every leaf up. So we have number one,
we have number two. I just go ahead and
delete these connections. Let's go for yellow one. And we just want to go
in and maybe, like, play around with
your noise a little bit, make it a bit smaller. Maybe fold is like
a different way. Curl it a little bit
more, stuff like that. Then we have yellow, 02. I'm just going to very slightly change the fold and maybe, like, curl this one quite a bit. Then we have dead 01, and that leaves are often quite like folded up and curled
and everything like that. So I'm going to go ahead and
make this one quite intense. I can then go to dead 02. And for this one, I'm going
to go ahead and maybe, like, twist it a little bit
and curl it a little bit, so that's zero, too. So we can very
quickly just, like, add some additional
variations to this. It's noise. Over here, let's make the noise scale
quite high so that we have, like, a bunch of extra noise. There we go with d03. And the last one number four. I'm just gonna go
ahead and I'm gonna curl it the other way and, like, push it quite far down. I feel like the dead number 04, it can use a bit more
tesselation for this. So let's go ahead and add a
little bit more. There we go. And now with bends a little
bit better. And there we go. Cool. Now at this point, you just basically
select everything. You apply it to your tree. Oh, Wi, it doesn't do that. Multiple. That's weird. In that case, just
move them over here. We can go at the Sao
scene and now we have a little bundle of leaves
that we want to use. At this point, what we
can do is we can go ahead and we can go export them, and this time we just
want to export them to FBX because we're going to
open it up inside of Tres Max. Yeah, let's just call leaf generator and let's press Save. None. Yeah, this is all
fine, let's press Export. Here inside of Tres Max if we just go ahead
and import our leaves, in terms of, like,
the PivoPoint, we do need to try
and go for, like, quite a specific Pivopoint. What I'm not happy about is that all of the leaves are
combined together. I do not like that. But I'm afraid, well, we should be able
to get them buy material because over here, I don't think there's
an option for me to hierarchy Hmm. You can try separate materials. Maybe that will make
things a bit easier, but I have a feeling that Oh, and make sure to turn off the flip x and only
the flip V coordinate. But I have a feeling that
is not going to work. In which case, we need to basically separate them
based on our materials. Yeah, you see? So let's see. We have a leaf
generator, which we can delete, and then we have LD. So technically, if we go to the pool and we
go, for example, to element select, over here, you should be able to select based upon the different IDs. Over here, one, two, three. The only annoying thing is that it does not do it
based on the name. A way that we can hopefully fix that is to simply export
this instead of an FBX. As an OBJ because OBJ files
often keep the names. Yeah, yeah. I don't
know why I did that. Flip V courntNn turn
off these things. Okay. Try that again. So an OBJ export should
give us our materials. Add a poli. Maya, that's fine. Just checking if
there's any settings that can make our
lives a bit easier. Material. So we have unique wireframe input into the material editor. That's
the one that we want. That's quite a press input. Okay. So now we at least have
our materials in here also, although we do need
to make some changes. But we should be able
to basically go in here and select ID one and
then press Select. And now you can see that
these two are basically our red materials because
over here you can see ID one, red, so I can detach that. Then I can go ahead
and select ID two. Select these two are
our yellow materials. Number two, and I
want to just isolate. Okay, so this one,
I'm just going to oh, I'm not happy about the fact that my leaves are not correct. In our UVs, did we
mess or did I sorry, did I mess up highest only. Maybe for some reason, OBJ, we don't need to flip
the V coordinate. I've never actually or never really done
OBJ format before. So Yeah, that looks correct. Okay, so it was just
the V coordinate. Anyway. Once again, ID
one, select, detach, okay. Select it and just
call this red. Select the rest. Press five, ID two,
select, detach. Okay. And then this one is. Yo. Now at this point,
if we're just going to go ahead and select our red, we want to go in and
detach once more. Red under score 01. And call this one red score 02. I will try to do this
a little bit faster now. Then we have a yellow. Yellow score 01. Elements select, detach. Yellow the score 02. The order should not matter in which that
we have these ones. And then we have this one
and that the score 01. Detach. 02. Detach. 03. And detoch. 04? Okay. All of these are now done. Now I basically want to go in, first of all, maybe, like,
let's see, how is the scale? I'm going to probably
scale them up just to make them a little
bit more manageable, and I can always scale them
down inside of unreal. And now, in terms
of our PIV point, basically what we want to
do is we want to twin, get the PIV point to be
roughly in the center. If I just, first of
all, select everything. And remember, I'm not
talking about this PivPoint. I'm just moving
this to the center because it is easier
for me to move. The one that I'm
talking about is 000. So if we go in and I don't think I can do this
from my side views, I basically want to go in
and move these over here. To a point that they are
not clipping too much into the ground because I
have a feeling that they will actually be pushed
into the ground else. So you kind of want to make
it as if they are laying on the ground over here. If you want, you
can make it even easier by just adding
a simple plane. And that way, it's a little
bit easier to double check. But what you need to do is
just gets rid of my segments, I need to keep in
mind that this is my center point. So
we have yellow one. Here you can see that yellow
two, we definitely need to, like go in and just,
like, place this. Over here, this one, what you can do so you
can place it like as if it is sitting on the
ground like this. No, actually, you know what?
I know that it looks cool, but I have a feeling
like that would be a little bit too eye catchy. This is stuff that should be a little bit more in
the background. This one, this one began
and got down a little bit. This one we want to probably do like move the angle over here. This one I'm probably going
to go ahead and just rotate. See, that's the thing, prep work always takes the longest, even if you don't have to really do much modeling or
anything like that. This one is really, really bend, so I'm gonna probably push it down maybe a little
bit sideways. Let's do that. Let's give it
a little bit of a sideways. One, and there we go. Okay, cool. Now, in order to once again save
a little bit of time, what we can do is we can
just select all of them, because all of them
have a specific name. And we can just go ahead
and export them all in one go because then what we can do inside of unreal
engine is we can just dictate to import
everything as a separate model. We call this actually
fallen leaves and just export it as
an FBX and press okay. And then if we go
to Unreal engine, and then here we
have our foliage, I will probably just
add it in here. Import your fallen
leaves, and this time, turn off combine meshes and then just go
ahead and import. And now what it will do
is it will import all of these leaves separately. Now, we already have our
red and yellow textures, that we already import. So if we go three, no, we did not. So right click. And let's start by
importing our dead leaves. Here we go. Don't forget roughness,
turn off our SRGB, and also for Apha. Go ad and just duplicate
autumn leaves. Call it dead leaves. Here we go. So that's that one. And now, if we go
into our foliage, I did not mean to move that. Well, there we go. I'm gonna change the camera angles anyway. If we go over here to our
foliage, we can have a look. If we drag it on,
it's a little bit small, but for now, that's fine. Let's go in and
just, um Play them. And it's just because of the backface culling that
we cannot see all of them. That's why I want to
places out of the way. And now we just want to go in, open it up, go to our materials
and basically yellow. Turn on preserve area, apply. Yellow, preserve area,
apply. This one is red. Preserve area. And this way, we can just properly
apply everything. Okay. Here we do. Here we go. Sorry, I mean. And now
here we have our leaves. I can see that
something is still a little bit broken like these
leaves are looking all fine. But then over here, it feels
like the UVs are messed up. As you can see for
our dead leaves, the UVs are messed up. Our autumn leaves are fine, but our dead leaves decide
to just basically break. Now, if we just go
ahead and go into Tres Max and check out
why they are broken. We can also go over here
in our dead leaves and if we go ahead and go
to our material, click on it, turn off the overwt option because it's really difficult for me
to even see what I'm doing. Next, I'm just going
to go ahead and I'm going to select
all my leaves, go to my UVW wb. And here I already see
probably the prom. So if we go ahead and go up here and set this one
to be dead leaf color, that one, Oh, they are fine. Huh. Then there must
be something that I missed in my material. Oh, wow. That's a
rookie mistake. I dragged in the wong textures. That is my fault. I
do apologize for it. There we go. Now it is
fixed. Okay. Awesome. So now what we can do
at this point is we can get started with the scattering
in our next chapter.
97. 97 Scattering Our Details Part3: Okay, so we are going to get
started with our scattering. Now, with our scattering, we are going to basically
use the same tools. We're going to start
with our roof for it. And basically, the only thing
that I'm really worried about is like we will
mostly be relying on, like, the angle of the roof to
do proper scattering to get this effect where it's
like, inside of here. But the scattering is pivot point based and
not collision based. So there might be
some clipping and we just kind of need to see
if we can live with it. Unfortunately, we
cannot do, like, a full on simulation. Well, with a lot of effort, we could, but that
would just be overkill. So let's select these
leaves over here. And we want to go ahead, and we want to just set the
location all the way to zero. Maybe throw it into a
folder called leaves. Just to be able to find it.
There we go. Leaves. Okay. Now, for scattering, let's just go ahead
and use this one. I think that's a good
one to start with. And let's go into
our scattering, and we are going to
go ahead and go for a surface scatter
node over here. Because I don't think is
there an actual leaves one? I can't remember there was Oh, no, no, that was more
for, like, the moss. Okay, so we got this one. Let's call this
one roof. Leaves. 01. Now, for our surface, we are going to go ahead
and we are going to grab this roof over here. Yes. Let's just
start with this one. And then for our
scatter objects, we are going to go
ahead and we are going to find our leaves. And yeah, we can for the roof. Shall we do all of them or just the red and
the yellow ones? Yeah, let's do only red
and yellow for this one. For these ones over
here in the scatter. And give the second because
it will be loading, and now you can see
over here our leaves. Our leaves are incredibly small. That's interesting. Let's
set the scaling 2-3. No bigger. 4-5 maybe. A little bit smaller, maybe. Maybe let's do from 3.5 to 4.5. Let's start with
something like that. Now, having this one. Now the next thing
that I'm going to do is a fall off surface
align. That's fine. Over here, what we
can do is we can basically work on
our anchor mask. And with this, we should
be able to basically, hopefully scatter them
out in certain areas. I can see over here that it is not working exactly
the way I want. If that is not working
exactly the way I want, the next one would be
that I basically convert my occlusion map into a mask. I was hoping, but yeah, it does make sense that over here. And what you can see
over here is also that we do have some clipping
here and there. We have a sync option here, which allows us to kind of
push it out a little bit more, so we can use that
kind of stuff. But yeah, for now, I guess the next thing that
we first need to do because we cannot
do proximity masks. And we cannot do object
masks is to basically create an embiot
occlusion over here. Now, this should not
be very difficult. I'm just going to go
in here in my tiles. I'm going to create one
additional channel, user five. I will call user five leaves. Then if I go ahead
and just go to the top, actually,
you know what? Let's just throw
this into our DHRM. In our base, make
sure to turn on leaves and set
leaves to be black. And then we have over here. Eaves and just turn everything
off except for our leaves, and let's set this one
to be a black mask. And then for this one, we don't even need to
use like a generator. Like, we literally
just want the mask where that we want
to have leaves because we're going to use a noise to basically break it up. So if I just go in here. Okay, I guess I cannot do an alt click. So let's turn on the
base color for now. Click Hold Shift. Just do this. It's just to mask
where we want to have most of our
leaves over here. You can go at it and
you can do a little bit of masking near the
ends, also, if you want. Over here, I can also
go in here and maybe, like, Oh, that's not a nice one. Let's make this a bit bigger. Go in here and mask it. These areas Here. And just because
we're working on it, let's also just go
ahead and mask it here. There we go. Okay, cool. So we got those pieces done. Now all that we need to do is let's turn off the base color, and we're just going
to go ahead and we are going to export this and in our output template just very quickly in the
JP tutorial asset, create another texture set. This is just going to be RGB. Call it Taxi set score. Leaves user five goes in here. And now, remember
what we need to do. So if we just go ahead and
select our JP tray asset, we need JPA or PNG because
this is going to be for graph N. So if I just go ahead and
export it as a JPEG, it will, of course, export
all of my textures. But if we just go
ahead and do this, and then we have our
main door tiles in here, we can pretty much
just get rid of all of the JPEGs except
for the leaves. Like this, just to
keep everything clean, and you do the trick. So now let's go
ahead and go back. Let's do the same as what we did with our
moss texture masking. Let's navigate to our
rooftop leaves over here and select that one and
give the second to load in. So, whoa, Jesus. Don't know what happened there. But anyway, so now we can see is we have over here our
leaves sitting in here. I'm going to set
the amount right away to like 70,000
or something. Just to make it,
like, quite large, and then I can just
go into my density. To basically have more
of a sets to one. Okay, one is a bit much. Point no, 0.8 maybe. And I, of course, need to
do quite a bit of masking. So we got something
like this where we have our leaves sitting in
some of these areas. Next, what I'm going to
do is I'm going to go ahead and use my
angle mask over here. And my idea was that
basically, see, at the higher angles, it's kind of just
like over here, it kind of falls off. So if I lower my angle mask a little bit further
down like this, and if I then go into my Um, where I edge break up. And I playout my
border distance, as you can see over here. We need to be a bit careful.
I like that over here that it like ards a bit
more of these pieces, but I'm mostly just looking
at the border spread. Oh, that's not very nice. Yeah, that does
make sense that it does also like
selected angle there. Um, I mean, this is already
looking pretty good. Let's have a look hang on mask. If I do something like this, that feels pretty natural. So I'm just trying to get
find like a good balance. Yeah. And then we have
our sinking over here. In which we can try
to push this out to give it at least it's not
perfect, as you can see, but at least they are just hovering in a way that
we don't really notice. Let's move this up
and down a bit. Okay. So our angle
mask is looking good. We got some leaves over
there. That's fine. I'm going to make my
density, 0.75 maybe. Wow, that's really sensitive. So 0.8, is that? Zero point. Excuse me. 0.79 maybe. 78. Let's do 0.7
Let's 0.79 for now. I think that will be nice if we go for
something like that. Okay. So we got those. Is there anything else? So we have our scale
properties, is fine. Our noise mask. Okay, yeah, we could use our noise mask to break things up a
little bit more. If you go ahead and just
go into intensity noise, you can see over here
that it just like dds some additional noise to give it a bit more breakup you
can see over here. So just like adds some of
these leaves here on top, which quite nice because
over here that also happens. I feel like that's actually
a pretty good spot this one. So when I'm happy with it, what I'm going to do is I'm going to go
ahead and I'm going to basically select
multiple objects. Now what we need to do is
we will need to later on, increase the amounts again. Oh, wow, over here,
it's like a lot. I guess the reason it's a lot is because the angled
masks are different. So what I might just
do is I might just go in and actually remove those low objects and then leave this one
for the specific one. I'm not going to
add it to the back. I don't really care about that. I am now going to
just duplicate and call this a roof leaves a zero, two, and for that one, let's go ahead and just
apply this one over here. Then we just need
to go in and set the angled mask feature masking. Let's lower that down. Something like this. And then if we just play
out a little bit more with our noise and with
our object mask, oh, no, sorry, not
object masking, our edge breakup. Here we go. And now, well, actually, when we add more, this
will become less leave. So yeah, let's say
something like this. So let's go in here. Select these assets, select
all of them at this point. Because I have a
feeling like this would be well, actually, no, let's not do all of them because as you can
see over here also, let's do them in more
strategic places. That would be here, here. Let's do this. So and then
because here there's a tree, actually, this also because
here there's like a tree. And then over here, there
is, I guess, that tree. So we can kind of, like,
just go over here also, and then we kind of just
stop it at that point. So let's go add these
pieces to surface. And give the second because
it takes a while to load. Looking really good. Nice. And also Hendy, how
quick that goes. You can see over
here like this arts quite a bit of extra. Now, the only thing that I do
not like is that over here, it looks like the angle masking
or not the angle masking, the breakup is actually
causing unacceptable problems. If I set the border
back to zero? Yeah, I'm afraid that
I will just have to play I can maybe set
like a tiny bit. But I'm so worried that, you'll see that it just like
arts leaves there, which is really unfortunate
that it does that. In that case, what I'm going
to do is I'm going to set the density to 0.85 maybe. I need to mostly just
use my noise masks. Warp noise will
probably not do much. Yeah, I'm going to set
my noise intensity, maybe like 0.5. No,
that's too much. 0.3. And then I'm going
to set my density to one. And then if I go
down, I will set this 70000-100 thousand over here. Yeah, it's too bad that we
don't really have an option. I guess, one thing that we
could do is no, probably not. I was thinking
maybe we can select these objects and use
those to kind of, like, take away some of the leaves, but that will not be as easy as you might think. A fall off. Maybe we can do something
with that if do 0.5. Nah, fall off is also
not really working. That's a tricky one. I guess we just have to
rely on our noise. I'm gonna boost this
up to, like, 130,000. And then I'm going to use my noise to basically
push it back down again over here. And then I'm just
going to play around a little bit more with
my ankle mask because that's kind of like
the only thing I can do to maybe push my ankle
mask all the way up. And, because adding a mask, yes, see that won't work.
Removing the mask. I mean, removing
some of the masks. I basically just like
randomized the removal process. But I can just use the noise
for that. Noise frequency. Let's go ahead and
play around with that, see if we can maybe make
it like a bit bigger. I'm afraid, although it doesn't look as nice as
what we did here, over here, there's also
some questionable problems. I'm afraid that we cannot really do anything
better than this. If I go at maybe set my
border spread to zero? Yeah, look how quick it
That's border scale. Maybe set the border
scale also to zero. Yeah, see, the thing is, like, we are
increasing a border. So of course, like I can Nah, I don't know if I can
even live with this. Maybe like 0.04. This is probably the
best I can live with. But I think for now, that should be fine having
something like this. I'm going to go ahead
and set my density a little bit lower, and
then that should be it. 0.95? 0.9. Yeah, let's do that. If
we have a look at it from a distance, we can still see it. Okay. Okay. Yeah, let's go for
something like this. Now, for over here on our floor, you can see that it's
pretty much like quite erratic and scattered
around and stuff like that. And it is mostly
around the corners. For that one, what
we can do is we can probably use the roof leaves. Yeah, let's do number two
and duplicate it and gull this one floor leaves over here. And if I just go ahead and set minus and then
in my surface, I'm going to grab
this one over here. And then in my scatter, I want to apply my
That leaves also. So here leaves that. Let's
apply those two. Okay. I think it's a sink, which is causing problems right now
if I set this to zero. Mask angle. Let's set
this back to 180. Let's go ahead and
object masking. Oh, that problem again. If we reset this to default, it's probably not going to work. Let me just double
check. Oh, no. Okay, so for some reason,
this time it does work. Remember that we had that bug set our border distance to zero. I'm surprised how we don't
really get any yellow ones. We have our objects, right? That red leaves, yellow leaves. That's fine. Our density
for now is also fine. What I wanted to do
is I wanted to mostly get it around these
areas, and I can do that. By the max height is fine. Remove mass. Let's
at this to zero. I can do that by F now set
also the noise to zero, just set it to default. Let's push things up over here. There we go. So it
was the sinking that is causing a lot of the proms. I guess because this mesh, because of our displacement,
this mesh technically is not sunken like that. So now we have leaves. We have plenty of leaves here. Okay, so anyway, we have reset a few functions over here that is totally fine. What I'm going to
do is I'm going to start with maybe
like a proximity. I want to have these leaves
mostly going around corners. So logically speaking,
if I just go ahead and select these areas, the leaves should start
to originate over here. So if I do this, I maybe
also grab these ones here. Did I crash? No,
I did not crash. But what I am going to do I
am going to save my scene. And add this one all
to a proximity mask. So now you can see
that now our leaves are really like
sitting around here. I'm going to go at
the density to like 0.5 or maybe like 0.7 for now. So we have our proximity,
that is correct. I'm going to actually also
add this one to proximity. There we go. Nice. And then it's basically just
about breakup. So we have our edge
breakup over here, which we'll do some
border distance, but we will mostly be
using our noise mask. Set the frequency of the
noise on because else, it does not register. And we have a border breakup, Edge breakup over
here, border spread. Let's set that a bit higher. Let's push the border
distance out a bit more. Let's go into our
proximity and push the proximity in a
little bit more. And then we have our noise, which I want to use to basically Set this one back to 0.5. I want to use the noise
to basically also apply some additional noise
just in random areas. So this one is really made for the scattering around our areas. And then what we're
going to do is have another one that's
just a bit more random because I don't think we are properly going to be able to do it all at one. So let's go ahead and do this a little bit less
in our distance. Yeah, so over here, this one works quite well for scattering. And then if we go
ahead and floor leaves edges. Let's
call it like that. And let's then go ahead and
just duplicate it and call this floor leaves normal. And for this one, what I'm
going to do is I'm going to remove my proximity mask. I'm going to lower
down 0.5, for example, or even less 0.3, I'm going to lower
down the amount. And then we still have our noise to basically
break this up. So now we have some
leaves, maybe 0.4. Five. Maybe 0.5 and then breaking it up a
bit more with my noise. And what I can do is
I have my noise now, and now if I go to
my border select, I can then low down
the distance to overhear and spread to get a little bit more breakup, like you can see over here. I feel like that's
looking pretty good. Now, at this point, we want to go ahead and
do the same stuff where we just select
this one and press Plus. Now, what will most
likely happen is that Oh, no, the amount of
leaves it's weird. Like, sometimes it does
and sometimes it does not improve the leave amount. I'm going to push
this up a little bit. Yeah, I need to push it
up a little bit because else it does not properly read. Now if I go in here and go
from floor leaves to edges, push these ones also
up a little bit. I should now be able
to go in here, again, apply my box and then
select these areas here to apply our edges and I will just
kind of stop there. So proximity mask,
art, there we go. Now we are adding
our edges and all of that stuff in here. That's
looking pretty good. Now, we have the
generic one, right? So we have our floor
leaves over here. We could go in here, and I believe that if I go in here and then also just make
sure that the angles good, that it only scatters
this on top. So now it scatters
it everywhere. But if I just
simply set my angle down in the feature mask
because these are all flat. So technically, the
angle should not matter. I should be able to go down
here. Low down my ankle. A bit like this. Of course, there's a little bit of the
noise being a bit messed up. So maybe this is
not the best one. Maybe I need to do
this on objects. But I'm just checking, is this, literally the only object where
I really need to do that? Because if it is, I'm
just going to leave it. Yeah, I think that's the
only object that has space. So you know what? It's not
worth it. Let's go to scatter. Oh, sorry, to scatter objects and just remove the
Japanese thing. And let's just leave
it like this and maybe set this one back to 180. Now, we also have
a floor over here. So in our floor, it would be logical to also
have some leaves. However, to scatter leaves
around an entire terrain, that's going to be a
little bit overkill. We could try these ones also. With our floor leaves. If we just go ahead
and apply these, does not look very
good, does it? No, I'm just going to
go ahead and get rid of those. Flat stones. And let's do floor leaves, and let's just go ahead and
duplicate this and call this 1 stone leaves. And in our surface, we
can get rid of those, and let's just apply
these in our surface. And let's just go ahead
and do a bunch of angling. So if we go to our noise mask, we want to make that a
little bit stronger. We can, in this case, improve our sinking again
because for this one, we actually can set to
not zero or maybe zero. Yeah, we can set this to zero because this one does
not have displacement. We can play around once
again with our well, first of all, our proximity,
okay, that's zero. Here, we can play
around with our border, spreading and all
that kind of stuff. You can try to have
some clusters, but what I'm going to do is I'm just going to go ahead
and set my density lower. 0.3, have a few leaves. Maybe 0.2. Over here. Just have a couple of leaves just like kind
of sitting here. And then for the rest,
what we're going to do is same stuff as
we've done before, which is that we are going to do some manual foliage painting
in this time of some leaves. So let's just select everything, right, click and
press deactivate. And then in terms of the leaves, let's go ahead and just
do some dead leaves only. So here we have dead leaf
01234. I can select them. I can start by just painting in, and then I can see
that it needs to go from a scale of two to three. I can go ahead and set
this one higher to, like, 700 and that pretty much works. Now let's just go ahead
and set this maybe to ten. And then in some of these areas, I'm just basically got to paint in some additional leaves. To help us with just the rest. And also, what I
feel like is that we have no leaves on the
stairs right now. And that's what also feels
like a little bit off, and it's up to you
if you want to paint it or scatter it around. Gonna go at in here. I'm just going to especially
like the cavities. And maybe like some areas where
there's, like, more dirt. We can go in and paint
scattered leaves. Because if leaves scattered, they are like everywhere often. Then over here, I'm just
doing some random stuff. Like you can see over
here. There we go. Okay, so on our stairs, let's have a look
what it looks like if I just paint it by hand. Yeah, you know what I'm
gonna do that by hand, because I already have
the moss and everything. I don't want it to interact with it, that will be annoying. So it's easier if
I just do this, and then I have,
like, full control. Here we go. That's starting
to look pretty nice. And then sometimes maybe
like at the lower levels. Add some still some leaves. We have already some
leaves over here. And also just over
here, just like, add some leaves here and there. It would make sense if
they all fall over here. Over here, maybe
like d a few more because right now they are kind of like
sticking through it. That's fine. So if I just go in
here and say this is definitely like my first
time in a tutorial that I'm using these
scattering tools. It's an interesting balance where we work really
optimize with our textures, but then we also go in and do a crazy amount of models
and relying on nanite to basically ren RDL because this
would never really be able to or we would never really be able to do
this without proper nanite. But luckily, right now the scene is running
still really smooth, so that's a great sign, and we still have not even
optimized our textures, and by the way, we can also go in here and apply
some leaves like that. Okay, cool. Um,
maybe in here a few more Here and here. I know that I set like a
mask for, like, the top. But honestly, at this point, it's easier if I just quickly go in and apply these
changes like this. And then over here, maybe
just like fade things out. We can also go in here and, like, just place a bit. Because else it's
like Wi abrupt, so let's just do
something like that. Okay. Very nice. So let's have a look. Let's go ahead and save sin. Over here, all of
these materials that imported, we
can delete them. And then we have
number one, and we can clearly see our little
leaves over here. And then we have
number two. And now we see a lot more leaves
sitting over here, which also looking pretty good. Might be a little
bit too many leaves. Like I might want to go in
and I think it's this one, go into our floor leaves and just set the density
to like 0.4, maybe. 45. And maybe also play around a little bit more
with my border distance. And my noise here, something like that feels a
little bit more balanced. Okay. Awesome. So we got
these ones now also done. Now, of course, there's going to be chapter
where I'm just going to paint in a little bit
more additional moss and just like improvements. However, in the next chapter, what I want to do is I want to start focusing on our decals. And once that is done, I
think what we are going to do is we are ready
for some polishing chapters where I
will first of all, polish just like some of the
materials and in general, make everything
fit a bit better, balance out my roughness,
all that stuff. After that, what
I want to do is I want to do another
lighting pass, and then it's just going
to be some finalization, and then we are
pretty much done. But as you can see now, and
you can really see if I go, at this point, you guys can
click away if you want. If I go ahead and just
duplicate my camera angle, you can get some
really cinematic shots even up close like this. Look at that. Like,
that's really, really nice to be
able to just get some really nice shots like
that with our moss and everything and also to have if we try to mimic
this shot over here. Well, we cannot really
do it on that one. We would need to do it on a different one because this
one is a lot more angled. But we are going
to just go ahead and have some really
nice shots in here. Yeah, that's going to look very. This one is quite
a good one here. That's quite a nice one. But anyway, that's going to
be the general idea for this. Let's go ahead and
continue on to our next chapter where we will get started by
working on our decals.
98. 98 Creating Our Decals: Okay, so what we're going
to do in this chapter is we are going to mostly
focus on our decals. So when I have a
look, for example, at over here, just my
general reference, and I have a look at
my main reference, there's a few different types
of decals that we need, and making decals in in wheel
is really, really easy. I want to have some green
decals that we can have more like the bottom end
stuff, just everywhere. And I want to have more
like a type of moss decal. So I'm going to probably also create some
leaks and stuff like that, but those decals I will do in like a timeenss because
they're so easy to do. So let's go ahead and
go with the first. And that's going to be
that we are going to have, let's just like some
greenish details, which we can done
later on maybe turn as brownish details to have like where we have our leaves and stuff like that, just
like something like that. Now for this, all you have to do is you have to
go to Photoshop, create a new file, and we're just going
to go 1024 by 1024, and here we are going
to place our decals. We are going to go for
projection decals, which means that we want to
have one decal on one sheet. There are ways that you
can combine decals, but we are going to do
this quick and easy. So if we just simply
go to text.com, and I'm just in my texts folder, I'm going to make a folder
called decaLs Okay. And in here, you literally have a decal step. So that's
why it's so easy. So we want something that's like creeping up from the bottom. So logically speaking, we
would go to the bottom. And here we already
have a pretty good one, although it's pretty long. But here you can
see, like, a bunch of different digitals
that we can have. So, yeah, you can just find out which one will work for you. I quite liked the first one because it was a
little bit higher, as you can see, but I might just pick only one side of it. So you basically grab the side. You go ahead and you
just, like, download it. I'm just going to I have 1024, so if I go for this one, for example, that is
more than enough. And then if I simply drag
this into my scene over here. Oh, no, sorry, I'm going
to go a little bit higher because I want to scale it
up. So let's go one higher. And just drag it into
our Photoshop here, and then I'll shift to
make it a bit bigger. And as I said, I'm
just going to go for, like, one side over here. And what I tend to do with this is because, of
course, right now, it would cut off really harshly, is I right click and
st rise the layer. And then this layer is fine. I can go in and now I need to
generate basically a mask. Now to do that, first of all, I'm going to place
this probably here in the center and having the
end here is pretty good. The way that I tend to generate
a mask is first of all, I create a solid color
below my texture and I make that a color similar to
over here our decal. This basically means
that we do not get a white outline whenever
we create our mask. Then the next thing is
that we right click and duplicate our decal layer. We throw on a fill layer below that and make
it completely black. And then very simple, if
we go into our deca layer, we can right click and
go to blending options, and then we can simply go
to color overlay and make this overlay white, like that. So now you instantly
have a mask. You can right click and merge
these two layers together. Control A to select
your entire canvas. Control C, turn this one off and go to your
original deca layer. And go to Channels
plus Contrave. So quite basic. And
now at this point, what you can do is you can
set your color to black. You can grab some kind of, like, a color mask,
and then, basically, you want to go in and just
kind of like over here, swine, kind of break
it off like this. And then when we
are going to, like, combine our decals together,
it will look quite good. So that's basically
how we create a decal. We can go file, save a copy, and we can simply go to
our Oops, textisFolder, decals, and just a
classic TGA Decal score zero, one, and save. Okay, so that's one of these. Now what we need is
we also need decal, and this decal is about moss. Now, what we want to do
with these decals is we mostly want to rely on a mask. And for that, we can
literally use a grunge map. Now, as you might remember, we have a grunge map over here that we can, for example, use. So I'm going to go
ahead and create a decal shade right now. First of all, let's start by just right clicking create
a folder called decals. And in here, you can just
import this specific decal over here and just make sure SRGB is turned on and
that you have your Alpha. That's fine. Now if we go
into our master material, we can right click New material. Decal score. Master. And we
can go ahead and open it up. So let's start with the basics. We have over here
our decal Master, and what we want to do is we
want to go over here and set the surface to be a deferred,
not a deferred decal. B was it deferred? No, because we turned that off. So we need to grab the decal, and then we need to set it to I believe it was masked or
do we want translucent? Yeah, translucent we want. Sorry. But that's not
what I'm talking about. There used to be a setting here, but I guess they removed it. That's why I was a bit confused. There used to be another setting
here that we had to set, but it looks like that now,
we don't have to do that. So yeah, this is
already working. Just ignore what I was saying. Anyway, I'm going to
start with the basics. I'm going to grab
my decal over here. And I right click and
convert to Bramso and call this base. Decal. Now what we can do with this is we can go ahead
and we can already drag this into our base color
and the Alpha into our OST. Now you can see that
that already works. It gives us our decal. Now we need to do a
few things multiply. And we want to go ahead
and multiply this using a constant Constant Tree vector. Right click, convert
the parameter. Color Overlay over here
and set this to white. Then I'm going to do this very simple and just do a
scalar primeter and call this. Roughness. Throw this one in
here. Now, because often with details you
don't really need much. I need to set the
base to one actually. Or maybe 0.8,
something like that. Next, we might
sometimes need a norm because if we replace
this one with moss, which we are going to do in the next one is we need a
normal and a grunge map. Let's start with just
dragging in our grunge map. And let's also start
by just dragging in our moss normal over here. So with the normal,
it's very easy. We can just go ahead and we can cover this to pemton
called this normal. And then add a
flatten normal node in which I can go ahead and I can set the normal over here, and then in the
flatness, I can just do a scale premter normal strength. And I can keep the
default at zero. This means that normal
just doesn't do anything, which is handy so then we
only need to do that later. Oh, wait. Then does it does seem to affect
it a little bit. So see one. Oh, yeah, one. Let's add this to one over here. Now the next one is that I
want to have an option to switch between these two Alphas. I can convert this to peremter. Call it a separate
Alpha and then create a static switch pemeter that
I will call separate Alpha. If it is true, it
will grab this alpha, and if it is false,
it will just grab an Alpha map from us like this. One thing that I'm a
little bit worried about is that my
normal over here. If I break this link, you can see that normal
for some reason, greatly affects our color. It should not do that.
Is this maybe because our mos has some kind of No, no, we did not do
that with our moss. So that's one of my worries. Now, I can. Just instead of a
static switch parameter and call it as normal. And do it this way. So if it
is true, it will do that. And if it is false, it will
do a constant three vector. And this constant three vector
will have a RGB of 128, one, 28 by 255. This is the default
normal color over here. Actually, but in real,
that does not work, does it? Yeah, that does not. It seems like that the normal greatly affects our control. So then we just need to work
around it. It is no problem. Like, I'm just going to go
ahead and it seems that any normal we input
will affect the color. I'm quite surprised about that. The way that we can
basically easily fix it then is to
just do a power. I was hoping that maybe a flat normal would
work, but it doesn't. Power, scale a pemter and
call this one base color. Lightness. If I set the
default to one, with this, you can see that now we
can go ahead and well, you cannot see it easily, but if I set it to 0.5, you can see that this works. So let's just go
ahead and do this, and then it should be fine. That's pretty much
everything I need for now. Let's save scene.
And the cool thing is that because we
set this as a decal, all we have to do is drag it
dropping in our material. In our materials,
if we just create a folder called decals, grab your decal
master, right click, create material
instance and call this bottom dirt over here and drag this into
our decals folder. Basically, the way that it
works in real very easy, let's say that here
we want to have a decal, we simply drag it in, press G to go into
your game mode, and then you can see that
now you can rotate this 90 here and 90 here. Because this is projecting, it always projects
even on the side. So basically what you want
to do is, first of all, you want to decide on your size, try to get that to
be quite accurate. Then what I recommend
doing is make it as thin as possible so that it only affects the
areas you need to affect. So here you can see
that with this pillar, it doesn't really work well. Also, scaling it is it doesn't
often scale really well, so you want to
often scale it into the separate axis at the same
time. But I can do this. I can scale it down.
I can move it here. And now I can just push this
in up until this point. Now, I forgot one setting
if we just open this up. So I open this one up. And that is that I want
to have a multiply. And I will add a
multiply to my Alpha, and I will add a
scale perimeter. And called opacite. Set the default
to one. This way, we can basically lower down the opacite a little
bit, because, for example, right now,
it looks way too strong. So what I can do is I can
now go into my bottom dirt. Drag it over here. I can then go to my obste and here
you can see it now, see? I can make this a lot less. So I want to set
this to like 0.6, for example, like that. At this point, I can go in here and if I want to
extend this over to my pillar I recommend just
move it forward a bit. Like this. Tiny bits of stretching is fine if you are working on
an environment that is having a very
specific position. However, if you are not,
then just move this back and make this like thinner to make sure it's not interacting
with any objects. In worst case, you
can literally create a plane inside of
threes Max and you can actually apply this texture on that plane. That's
another way of doing it. But then, of course, you
will not have any type of these projection features. But for now, you can see
that now we are able to like art additional
details like this on top. Of course, we can also do
that using our DHRM mask. But the nice thing
about this one is that you can easily flow over
from one asset to another. And, of course,
with this one, I'm here to just show
you how to do it. So here you can see like I'm
scaling it up a little bit. So let's not forget that.
That's also one of my goals. To show you guys how to
actually create art. So just like this, what we can also do is
we can also debrad it, rotate it down and
move it over here. Now, one thing that you
might notice is that now our leaves are also
getting dirt on them. You can try to
push it down below our dirt. And then
place it like this. And you can see here
this adds quite a bit. Or you can select your leaves. And I'm not sure because
this is like an instant, so we will probably not
have the option in here. But if you click on these leaves over here and
select all of them, there should be an
option in your lighting, if you go to Advanced, and you can say that you do
not want it to accept decals. And or was it a rendering? So it's a rendering, rendering, receive decals, turn it off. And now you can see that now, it basically just ignores
this specific decal. And at this point, we
can just go ahead and we can place this around. Now to finish off this chapter, before I just go to time lapse, creating some additional
decals and placing it around, let's say that we
want to have a decal for some additional moss. The way that we
can do that is we can duplicate our bottom dirt. Call this one moss score 01. And then for this one, if we just go ahead
and open it up, we have created a
functionality for this. So our functionality is that
we want to go in and we want to replace our decal
with moss over here. And now you can see that it
just becomes one mossy plane. You can set the opacity to
one to make it true moss. And then what we're going
to do is we are going to go and turn on
our separate Alpha. And now what it will
do is now it will place this moss using our Alpha. If you want, you can
also go in and you can also open up your material. And create a scale
pemter called tiling, multiply set the tiling
to one by default, so that we can actually
control the most tiling and a texture. Coordinate? No, not
texture coping. Texture coordinate note. And just plug these ones into your decal and into your Alpha. Here we go. Because the default is one, nothing will change. However, when we want to, we can go in here and set
the tiding to, for example, four, which will make our
moss a lot lot a lot less. I also need to go in here because this is a
different instance. I need to select these
pieces and once again, scroll all the way down and
turn off receive Digal. There we go. So now
we have our moss. Armss is great because we can break up really
large surfaces. We want to go ahead and make
this bit smaller though. Over here. So, yeah, we can break
up with large surfaces, so that's already working great. And what we can do is
we can also use it, for example, on our wall, if I go to 90 and place these on our wall and let's make it like
a little bit smaller. Oh, let's go in here. Like this, to make
our mold mossy. And then, of course, you just
want to select your moss. Select once again,
your three objects. Oh, let's save my scene because it is really slow with this. Can I do that? Select
your three object? I guess because it's so
many and then scroll down and turn off
receive details. There we go. And this one it is over here. So now you can see that
now we have our moss and at this point, here, you can duplicate this. And here I can just like place this in a favorable location. If I want, I can also
push this out a bit more. And then I can move my moss like that to add very
small moss details. So that's basically the general
idea of creating decals. Now what I'm going to
do is I'm going to have a quick time laps in which I'm just going
to go ahead and, like, place these decals around, maybe create some
additional decals for some leaking and
stuff like that. And once that is done, we are actually going to dive right into some
polishing chapters. These will most
likely be narrated. So what we'll do is it will
be like narrated timelaps. So you will hear from me then. And for now, I think we already have a really nice result. So let's just go ahead and just continue by finalizing
this environment.
99. 99 Adding Cameras And Planning Polishing: Okay, so before we start
with our time lapses, because time lapses are
going to be quite long since we are going to do
a bunch of polishing, a bunch of stuff, not just
placing some details. What I want to do is two things. One is I want to start by defining my final camera angles, and number two is that I want to create a list of all
of the stuff that I'm actually going to do so that
we kind of like so that you guys know exactly
what we will be doing. So knowing that, let's go
ahead and have a look. I'm going to go in
and first of all, just work on defining
my camera angles. For this, I can go
ahead and press G to go into our game mode. And now if I go ahead
and go to my camera, so we have camera number
one, totally fine. We have camera number
two over here, and I want to press G again. I want to go ahead and maybe
move that a little bit more down like this. Now next we will have
camera number three. For camera number three, a
nice close up would be nice, but let's have a look and see what close up would be best. Maybe something like this
does actually look good. I'm just going to
type in camera so that I can easily see it. Let's go ahead and go
for the next camera. For the next camera,
what I wanted to do is I wanted to have
a close up that was more focused on our
roof over here, and I just want to see the
best roof that we can have. You can also have a
look literally just at these images for inspiration. Because of course,
these images are still looking quite nice with how the angles work and everything. So definitely. But for the roof, I want to ty and get
something like this. But unfortunately, I won't
be able to do it exactly, but maybe I can go in and See, the thing with this one is it's a shame that I miss that stuff, but what if I do like
a cut like this? I think that will
look quite nice. So we have a little
cut over here. Yeah, let's Ooh, one button. Let's go ahead and do that. Let's go ahead and do contra D. Switch to the next one.
So what we can also do, we can also definitely play
around with the angles. Let's say that we want
to have angle that's like 30 or you want to go for
something really extreme, like 85 millimeters or
something like that. We can definitely do that. No 85. Let's try 35 over
here, 35 or 35. Also what you can do
is you can also add some visually interesting
angles to your scene sometimes. Yeah, this one because
there's nothing there, I might want to just go in here. But let's say that I go for quite a high angle and then
let's see what happens if we, for example, add some
additional rotation. Like a very slight rotation
over here to kind of give it like this weird look. Nah, not this time. That's a tricky one.
So 35 millimeters. Maybe I don't know if it
would be nice to have, one that is not 35, but just something that
shows this and over here. But I'm not so sure. I'm
just thinking having a look maybe
something quite low. Sometimes you just need
to take some time to really figure out
what you want to do. So just feel free to keep
flying around until you feel like you got some angles.
Let's have a look around. Maybe there's some kind of interesting artistic type angle. So of course, we already got our main angle,
so that's fine. Let's have a look. Is
there anything else? And another reason why we
want to have these angles is because then we can polish our scene based upon the angles. So stuff that I quite
like is I quite like having maybe like a
close up over here, like an extreme close up. But for the rest, it seems, it seems like quite basic. So maybe let's go for
something more extreme. Let's go ahead and set
our lens settings to 85. Maybe I can do that over here. Maybe if I place one of those pieces down
here that might work, And you can also always just go for your manual focus
and click on it. And also, by the way,
I can see here that I need to fix, like
some weighted normals. Maybe let's do
something like this. If I then click here, so this is going to be
like a focal point. Let's try something like that. And then in here, I can decide to
change those angles. So let's have a look. So we now have our main angle over here. We have our angle that
shows these areas. We have another angle that shows like a nice little close up, another one that
shows like our roofs. And another one that shows, like, a nice close up like this. I think for now,
that should be fine. That gives us enough to,
like, kind of work with. So the next thing that
we're going to do is we are going to make a list
with everything that we still want to do or that I still want to do,
should I say it like that. So I will have my notepad
over here on my other screen. So one place and create Diggles. 1 second. Let me just move
my microphone a little bit, so the audio will be a
little bit different. So place and create digos. Two, weighted normals pass, where I just make sure that everything has
weighted normals. Three, balance lights and flags. Just like improve those flags and the lights and everything. Then we have four
Roughness pass, where we just go over roughness. Five, general sit
well improvements. I feel like right now these itls over here feel a
little bit too basic, so I want to improve those. Then six, dirt and highlight pass where I basically go over all of my materials and make
sure that they are crack. Like over here, the dirt is really strong, for
example, in here, which I don't really like, so we can balance that stuff out. Then let's go ahead
and so our foliage is pretty good. Oh, yeah, here. Seven, place, additional trees. Eight. Improve doors. I feel like I'm still not happy
about my doors right now. I just want to find
something that we can do to kind
of improve that. Nine. So I want to also improve a little bit more like
the reflections over here. So improve camera based
lighting and reflections. So that's more like
based on our cameras, I might manipulate the
lighting a little bit. Then we have ten. Improve bark because I
want to improve the bark. 11, uh art, new metal, array, normal, and
general tweaking. This is for our
arrays that we can just do some tweaking and
art and improve metal. I will do a chapter where I'm
going to lower everything, but that I will do in real time. Now, next, so we have this one general Mtingimprovement
is also needed, where I will just do some small tweaking to get it to look more maybe in the direction
of what I see here. Like, this one is
pretty good one. So I might like apply
these to a new category. Over here to give us a better sense of
what type of lighting, do I maybe want to go
for a little bit more of like a red lighting
compared to this? We'll just see if it looks good. I want to do 13 leaves improvement because I feel like that on the
trees and everything, the leaves are
still not perfect. So I still want to do
some small improvements. Let's see. 14. Additional
moss and leaf painting. Just to paint in additional
moss and stuff like that. Then let's go ahead
and go to our new cai. So yeah, you can see like
there's still plenty to do. But most of the stuff
that we need to do, it actually doesn't
it wouldn't take a massive amount of
time to really do. So just like, kind of, like,
need to play around with it. Over here, I would say
that this is quite nice. Maybe, well, I will have
here light improvement. So because this is
technically a light, I called it a bird house,
but it is a light. So I might want to maybe
do something with, like, having that light
on very softly. Yeah, and this is just
like moss improvement. So for the rest, like some
nor map improvements, that is fine and maybe, like, improve the
stuff over there. This one is mostly
like just like hitting that nice roughness
response and stuff like that. Um, maybe optional. A level art pass. Where I will have a t if
there's anything else that I might need to art
to our level art. I also have the
arched over here. This transition here,
it's like, really abrupt, and I'm not really
sure I like that, but we could fix that
probably using our trees. So we will have a
look at that also. Uh Yeah, I think
that's about it. Like, of course, with
the lighting paths, that'll come a bit later. So I will not do
this in this order, but I think this is a pretty solid list to get started with. So most of these will
be done in time laps. Many of them might
in the time lapse, I might narrate over it if I feel like it
is really needed, but not everything
because things like just checking weight
normals is really boring. And once this is done, I will come back in real time, and we will do some finalization
and stuff like that. So let's go ahead
and continue with our time lapses in
our next chapter.
100. 100 Polishing Our Scene Part1 Timelapse: I I C. I I I Hmm. M
101. 101 Polishing Our Scene Part2 Narrated Timelapse: Okay, so let's go ahead and
kick in the narrated T laps. And this is mostly because
in the previous time laps, like we did some
really basic stuff. However, in this time laps, I'm just going to
go ahead and do some stuff that I just
want to narrate over, mostly the lighting chapters. Over here, I'm
replacing my metal. So our metal was way too fine, so I'm trying to find something
that's much stronger, as you can see over
here, just like a nice, strong looking metal. And when I say strong,
I mean, like in the norm map that
there's actual details, like you can see over here, and I'm hoping that that
kind of balances things out. Remember, in the blue
channel of your norm map, you need to place your,
um, your base color map. So over here, what I'm doing is I was looking
for my histogram, and I was looking into view, but I had to be in Windows. So just ignore this part. I'm actually going to go
to, like, my Windows step, and that's where I can find
my histogram over here. So just set it to luminosity. And then what we can do
is we can just balance out our metal to make sure that it looks 128 in terms of, like,
the grayscale value. And then we are just
going to re import that. Don't really need to
do anything else, reimport, save. And there we go. Okay. And, of course, I'm just like, playing around a little bit more
testing things out. Later on, I am going
to make a small test, but this is already
looking quite good, as you can see, where, like, it adds those larger details. But yeah, I am going to
later on refine this a bit because you can see those really small
dots over there, but this comes way later. So for now, I'm also just flying around and in other pieces where
I have my metal, I'm basically just playing
around with the metal details, making them more or less strong depending
on how I like it. Later on, we are
going to do like an optimization pass where we
are lowering our textures. And when we do that, we might need to go in and balance
things again a little bit. But in general, over here, I'm also just looking at
all of my diteal normals. I'm basically just like playing around we like this shot.
This is really nice wood. I'm basically just
playing around and just like checking the strength of
all of my detailed normals to make sure that everything
is at a good strength because that was just part of my polishing notes to
just double check. And that's what I'm doing here. Just looking at everything, making sure it's
correct, and that's it. Now, at one point, pretty soon we are going
to, like, only do, like, leaf and moss painting, and I do not really need
to narrate over that. There's nothing really
that I can do for that. So just what I will do
is then I will kick in, again, like some music.
And leave it there. Over here, I'm just playing
around a little bit more with the sink because I felt like they were
floating a little bit. And over here, I'm
also just going to try and in my leaves, I'm going to try and exclude
this specific one over here just because it was not really it was
clipping too much. So I'm excluding this one. And now what I'm going
to do is I'm going to do some leaf painting to basically compensate
for what we excluded. So let's go ahead
and kick it in Tie wraps to paint our
leaves and moss. Okay. So that
painting is now done. And now what we can do is we
can go ahead and continue. And I'm mostly now going to go ahead and start playing
with my lighting. In the end, what I decided
was that I felt like the lighting was a
little bit too greenish. Like, it was not even yellow. It was just like, too green. So over here, I'm just, like, organizing my scene to
prepare for lighting. And what we're going
to do is we are for now going to go for a little bit more like a
red sunset type lighting. These are only very small
changes that we need to do. So over here, I'm basically
playing around with my sky atmosphere because
I was thinking like, Okay, I want to make my
sky a little bit red. However, as you can see that the sky atmosphere is
not the right way to go. So I'm basically just
trying to figure out the best way for
us to get this color. In the end, it was going to be a balance between our skylight, as you can see over here, because our skylight
does bring out that redness and
our post effects. And once that is done, then what we will do is we will later on go into
our sky atmosphere, and we will change the sky. The reason we do this is
because, of course, over here, like, I'm playing around
with it, but, um, even though my scene has, like, this nice red hue and everything
of the low hanging sun, our sky is still perfectly blue. So that's something
that we need to keep in mind that we
actually do want to make our sky also like
more interesting color. So I'm ending up making my
sky also like a tiny bit red, just to get like
some red in the sky. And over here, you can see
that I'm just like, Yeah, it's very, very subtle,
but it definitely works. So I'm like being very
careful with it to not make it too overpowering,
as you can see. So I'm just like
playing around mostly with my gain in my global
color grading settings. Until I get something that I like and this just takes a
little bit of back and forth. We're just like playing
around with things, so there isn't too
much to say here, but we are going to also do
some other stuff after this. So over here, I'm
going at and save, and at this point, I'm just, Oh yeah I'm checking my other camera angles.
Make sure to do that. Make sure to keep checking
your camera angles to see if everything is still looking the way that you wanted to look. And I found that it was,
like, a little bit too red. So I Udot my previous thing, and I'm like, making
it a tiny bit less. Now, over here in my
expensial height for, I'm just seeing if I need to
change the colors in there. In the end, what I was going to do is in
my sky atmosphere, I was going to use my
I cannot see the name. It's all the way like
the bottom setting. And there you can
change the lighting, the sky luminance
factor. That's it. In the sky luminance factor, you can basically change the sky color without
affecting your scene because our sun is linked to our sky atmosphere, so
we do not want to do that. And I'm basically
doing that to, like, slightly change the
overall color of my scene. Now, over here, what I'm
also going to start doing is I'm going to start placing
some custom lights just to, like, catch a bit more of those details that I
felt like was missing. So over here, I'm just adding an additional view
pod that I can actually see it on
my second screen. And I'm adding, for example,
like a rectangular light. My goal for this light
is to basically catch a little bit more light
on my swabs over here, just to highlight
them a little bit. This is something
that's pure araction. Like, it has nothing
to do with, like, or you wouldn't really
do it in a normal game. In normal game, you
would just be like, Okay, so that's just
accurate lighting. But over here, I'm just
doing it a little bit just to catch that light
a little bit more, make it a little bit more
visually interesting. And that's all. And this light makes s set the temperature to be a little bit more warmer. And I end up not doing,
like, a lot of it. I end up placing also some additional trees just to get some more
shadows on my trees because what I noticed
is that I was so focused on the shadows in my scene that I
forgot about that, there are trees in my scene that just have no
shadows on them. And that wouldn't
really make a lot of sense because these are supposed to be in,
like, a forest. So you would think that
the trees themselves, of course, also have
shadows on them. That's basically what I'm
doing here, as you can see. I'm just placing the shadows on the trees and also
on my rocks over here, and you can see
that that actually adds a lot more to our scene. And I keep looking at my
different camera angles, making sure that
everything looks correct. And for the rest over here, what I'm doing is I'm
just painting in a little bit more grass in this area, but that's
nothing special. It's just because I felt
like it was too much of a blank spot, see? And I would just
has a bit of grass. Over here, I was just
playing around with, like, again, like a fake light. And I end up going
for fake light, but, like, very, very subtle, like make it very soft and it's just like
there to basically improve the darkening
a little bit more and to catch a little bit
more of those reflections. But it is something that
is, like, very subtle. So you can see I only said to like 30 or
something like that. And here you can
see the difference, just like slightly on that close up balance it
out a little bit more. And over here, what
I'm actually going to is I'm still not happy
with reflections. And also, I was not
really happy with the rayexs, but
that comes later. And for the reflections, I end up actually changing
my metallic a little bit. I set my metallic to 0.2, which is a little bit
of faking it because we are breaking our PBR. However, I felt like that
was the only way for me to properly get the
reflections that I wanted. Now, with your ray texture, I kept going for low values, like two and five and stuff. But in the end, it turns out
that I had to go way higher. I had to go to, like, 50 or something
like that to make them look good on
my actual tiles. So if you want, you
can already do that. You can already set
your ray tiling to 50 or something really high. Over here, I'm just balancing
out random materials. This one is for those
hanging lights. And honestly, I already forgot exactly which materials I'll balance because there
are so many of them. But in general, like we are
getting a little bit closer. I'm just checking, like
if I forgot something, playing around with
things, stuff like that. So it was nothing
really too special. I'm making some materials darker or lighter just to see how
they respond in my scene. So that's also another
thing. Like, sometimes I literally just quickly make
stuff darker or lighter. Here, I got some leaves. And this I just
literally went to the unual marketplace
and typed in, like, leaves VX to get some leaves that are
blowing into the wind. And I'm basically
adding those to have a little bit extra because
right now our trees, they do not have any type of, like, wind and stuff like that. So I just wanted to get
a little bit of movement in there just to make it a
little bit more interesting. And yeah, in this chapter, I am not going to
go over, actually, probably doing the wind for
our trees just because to do it properly is
quite a lot of work. Like, I know a way to do it
like super, super quick. However, it will
simply not look good. So that's just something
that we will kind of, like, ignore for now and
focus mostly on, like, the still pictures rather than like having a moving video. And over here, I just changed
the color of my leaves. Now, I just want to balance out my lighting a little
bit more because I felt like it was just a tiny bit to a red so just toning
that down a little bit. I also felt like there wasn't
really enough contrast, so that's another thing
that I'm going to fix in just a bit. Over here. So here you can see me just
using the gain in my Global to do the color grading and lower it down
like a tiny bit. Now, what I felt was that
if I look at my reference, my sky is a lot brighter. While over here, my sky just
isn't really bright enough. However, this was a really
tricky balance to get. The reason this was tricky
to get is because I would need to balance
all of my lighting again just in order to
make my sky brighter. I'm cheating a little
bit. I basically I'm creating a material that
only has an emissive map. And then I'm placing a sphere. Remember, this is just
for art direction. Do not use this technique whenever you are
creating an actual game. Over here, I basically
select my sphere and I flip around so that basically the normals of the
sphere are flipped. And then I set my
sphere to a scale of 10,000 and I apply my
emissive only material. Now what this will do
is, although right now the missive is
not strong enough, it will just basically
brighten up my sky. However, my skylight is able to see this
emissive material, which means that every time
you load up your scene, it will mess up your lighting. You would need only use this sphere whenever you are taking a screenshot, basically. So right now here,
I'm setting it like W W strong, my emissive. And now what you
can see is that now from this small area, everything is looking a lot better because the sky
is a lot brighter. This is just because
else I would have to spend another half
hour balancing out my lighting and then risking that I mess up my
lighting again. So that's the only
reason I did this, and I would only really
do this if it's like a portfolio scene where I just likely to take
a few screenshots. So yeah, I'm just going to
call this one direction. Now over here, I mostly play around with
the contrast inside my shadows because
I do not want to control the contrast
of the entire image, since then everything
would feel a lot more contrasty. Well, yeah. So I only want to have more
contrast in my shadows to make those areas a little bit darker, which I did here. And now at this point,
I also felt like that my foliage was not
bright enough. It was all, a little bit
dull and stuff like that. So what I'm doing in
here is I'm simply changing the brightness of
all of my foliage pieces over here just to
bring in a little bit more of that color because when I look
at my reference, although it kind of goes
against my feeling, foliage is really,
really bright. It has really strong
colors often. And, however, it's a tricky
bells because it also makes things feel a little bit cartoony if we go in
the wrong direction. So I'm just trying
to, like, change my brightnesses up here
and there a little bit just to make everything look a little bit better, basically. And just to kind of get that, especially with our
greens later on. You can see like our greens right now I'm not working on it, but the greens are
quite dull looking like it's quite
dark looking green. So that's definitely one where I'm really
trying to push it. And I was struggling with
the windows because they keep opening up the tabs
in, like, a differd area. So here I'm playing
around with, like, my green colors and just making sure that that
all looks correct. And also the green standout. After that, all I
have to do is place some additional trees just to block off the sky
a little bit more. And that is pretty
much it. I would say. So here you can see, like me
just placing a few trees. And now at this
point, what we will do is in the next chapter, we will do some final
tiny bit of polish, and we will go over our
optimization techniques and just making sure that our
scene is technically sound. So that's about it.
Oh, and we will also add some wind to our scene. I decided to add some wind. So let's go ahead and
continue with that in our next and final chapter. M
102. 102 Final Optimizations And Polish: Okay, so we are super close to finishing
off this project, and I think it is looking great. Now, what I wanted to go over in this chapter is so we have
pretty much finalized it. There's a few very small things
that I just want to art. One of them is that I said
I wasn't going to do wind. However, I looked
into it and I found a really sneaky
way that we can at least like a little
bit of wind because, yeah, it doesn't feel really
right when we have, like, some particles flying
around with wind, but we don't actually have
any wind on our foliage. What we're going to
do is we are going to simply steal it from
mega scans, basically. So what we can do is if you go to your Quicksaw
bridge over here, whenever you import
anything that has foliage, it comes with a default
foliage material. So if you literally just go to three plants and just
scroll down and, for example, like
this one over here, you can just go ahead
and you can add it. Doesn't matter what,
just add something of foliage because
when you do that, if you go into your mega scan, I think those Mexican
presets. What second. Let's just go to mega scans, three plants and just select whatever you imported.
So I imported this one. Open up your instance
and just quickly click this search bar over here to go to our actual foliage material. Now, if we open this one up, it has a wind tab over here, and I didn't realize
it was so simple. I expected it to be
much more complicated, but I guess the mega scan tees
are much more complicated. However, what we can do is
if we go ahead and open up our foliage material over
here, foliage master. We can simply go ahead and
select Mexican winds Contrac, go in here, press
Contrave and simply drag this into your world position
offset note over here. And that's it. So it is
not the best looking wind, but at least it adds some
movements to our pieces. By default, it is turned off, which is good because it
means that I can now just go in and I can go
to my materials, and let's say that I
grab my swaps over here. And then I can go
ahead and enable, wind, and just press enable. And now over here, I
have a few settings. The ones that is most important is the wind
intensity and the wind height. With the intensity, I can go ahead and I guess
is a bit higher. And if that play around
with my wind height, that basically controls
like how high my wind is, but also it helps with
the intensity, basically. If I set this to
around two, maybe 1.5. Then play around with my
wind intensity over here, I can have some
very small winds. As you can see, not the most amazing way that it looks,
but it does definitely work. With your wind
speed, you can have your wind going very
fast if you want. I'm going to keep
it to maybe 0.4. Something like that. Now I'm
going to save my settings, and I'm going to right click, and I'm just going to go ahead and press copy on our wind tab. This way, when I open up
something else and activate it, I can right click and
I can press Paste, and it will paste in
all of these settings. So I can do that basically
for all of them. Wind, right click and paste. And then for this one, I
do want to quickly just check because it might be a little bit too strong, as
you can see over here. And the reason it's too strong is because
the wind height. These pieces are way
higher and way smaller. So we want to go ahead
and for this one, lower that down quite a bit. Maybe zero, 0.1. Yeah, 0.1 a zero. Right click and copy this again, and now we can go to our yellow
leaves, activate, paste. And we can basically
do that with all of them. Green leaves. So it's just like one
very small detail, but it will be handy because, of course, whenever I create, like, a trailer for courses, I always like to
include videos to it. And in those instances,
it's great if we have, like, something
that moves with it. Let's not do it for
our dead leaves. Now, what this
also means is that now, this is great,
like over here, like we get just in general, some wind, although I'm missing something, maybe this one. I guess, could it be
because these are lower that time? A, here they are. They are working.
However, they will now also be working on the
ground, I believe. Or not? Oh, that is perfect. It might be that because of
our wind height that we set, they actually do not
work on the ground, which is really, really good. I did not even realize that I was expecting to
just needing to do two different types
of materials for the ground and for the rest.
But that's great stuff. I do feel like this one
here, that's really intense. I'm going to go ahead
and just quickly go into my swap leaves and set the
wind height maybe to like one over here. Yeah,
that adds a bit. So now if we just go in here, at least now you can see, you can see, very
slight movement. And from a distance, it does, like, feel
like there's, like, some wind going on, and you can, of course, play
around with that. So that's the first one and pretty much like the
last polishing one. Now what I want to do is I
want to go ahead and I want to work on our
optimization and just, like, in general, making
sure that everything is correct in our scene to
properly close it off. Now to do this, the first and
easiest one is that I go up here to lit Nanite and I just want to turn
on my nanite triangles. Train still do not really accept nanite as far as I can remember. However, I want to just go in and make sure that
everything is set to nanite. We have these additional
pieces over here. The pole, I can set to nanite
even though it's not mine. The flag, I cannot
set to nanite because the flag is an
actual moving piece, and I do not think, Oh, well, it might work. I've not tried it because this is a much more complex shader. So we can definitely
check it out and try it. So if I do Nanite and
probably also preserve area and press Apply Oh, wow, I did not expect Nanite to work with vertex defamation. Fair enough. Props to unreal engine for
having added that. That was not here
in 5.0 and 5.1. But in general, you
can see that like our nanite it is working
really well well. Really well. Sorry,
I can't speak. So everything seems to
be working totally fine. Also from distance, you can see even our really high
poly pieces over here. It is rendering exactly the
way that we wanted to render. Okay, awesome. Now the next
one that we want to do is we want to check our
mesh distance field. So basically what this
does is it basically calculates for us the global
illumination of our scene. You can find this
by going into your Oh, God, where was it? Give me 1 second. So it
was not the atacing debug. Show Advanced, I
visualize. A here. Show visualize mesh distance
field. I have a shortcut. That's why I didn't really know. And when you do this, you
basically get this view. Oh, wow, that's looking
already Wi good. What you want to do with
this view is you want to have your meshes roughly represent the way that
your scene looks. When you do this,
your scene can be sure that it basically correctly
bounces off the light. I am honestly very surprised how well it is working for mice. Over here, you can
see some problems. However, you can take this
with a grain of salt. Most of these things
you can easily, you can be happy
with if there are some holes in it because it is just about some very
broad strokes so that the system that calculates
all of our lumen stuff, it knows what your
mesh looks like. So let's say that
I pick this one, for example, because I'm kind of happy with everything already. So most of the time, it is
already fine by default. It is not great when it comes to slness but we don't have a lot. But let's say that this mesh, I feel like this one
is not yet enough. I can go ahead and I can press Contra F to go back to my view. I set this as a custom
shortcut, by the way, so you will need
to go to the show, and I grab my bird house. Now with my bird
house over here, if I want to go ahead and
press contrav and I want to make my shape better represented
to what it is in here, what I can do is I can
basically go down to LOD zero. Sorry, not LOD zero. I want to go down
over here to my, LOD zero, but to
my bul settings. And here I have my distant
field resolution scale. Hiring this scale will give you more accurate
representation. However, you can see over here the distant field that
it does take up memory. So right now, 0.03 Bs is almost
nothing, so that's good. If I set three and press Apply, what it will do is it
will often, not always. It will often try to represent. Oh, wait, it's not
working this time. Three. There we go. It will try to represent, as you can see our
shape a lot better. Now, this is literally
near perfect. This is pretty much
perfect the way it is now. However, it is
rendering at 0.57 MBs. So we went from 0.03 to 0.57. You can see the Voter F, there is almost no
visual difference, the light bouncing is good. But if I go back to
one, you will see that there's almost no here, you see, there's no
visual difference. This is because it
is already fine. Like we would need to
have really big holes and stuff like that in order for
us to go to this amount. Of course, these
pieces, because it's foliage is a little bit
trickier to calculate. But I just wanted to show
you that that's in here. You can set this higher if you want to fix any
holes that you might have, or if you just want
to, in general, make your shape look better. Okay, so that was the
two most important ones, having Nanide and
having this on. One thing that you also want to keep in mind is that right now, I'm still setting my epic in my engine
scalability setting, so I'm setting it to Epic. However, when I want to take screenshots, I
would, of course, go to cinematic. That's a bug. Yeah, here, that's
back. See, because now if I go back to Epic,
something is still broken. What I will do is, so we
are setting back to Epic. Most likely, it is that
my skylight is confused. Let's go to skylight and
maybe press recapture. Or it can be confused with
my What could be happening is that it is
confused because of my sphere over
here that I added. So if I turn off my sphere, recapture, now it is back. The sphere is included
in the skylight. However, I'm not calculating it because I'm just using
it as arc direction. I think you can turn this off. First of all, let's set
this one to its movable. I believe that over here we can change our
lighting channels. We could set this
to channel one. Technically, what that will do is you have three different
lighting channels and it should mean that
everything that is in lighting channel zero
will ignore this sphere. That means that my skylight
is at lighting Channel zero, so that should ignore it. And else what I tend to do is because I
literally use it just for preview purposes,
I just like, leave it. But now if I go ahead
and first of all, let's save my scene, set my engine scalability
to cinematic. Okay, that's interesting,
but it still captures it. In that case, what I would
do is because this is just for capturing this one image, I just added this sphere
with an emissive to it. But of course, you
can add a sphere, you can completely balance out your scene to compensate it. But for a tutorial, I'm
not going to do that. If this was a real time game, I might do it, but
not for a tutorial. So I'm just going to
press recapture because I got it finally to a point
where I want it to be. Wait a few seconds for
it to recapture and then just turn on your
sphere. There we go. Like for now, that's totally
fine just to take an image. And now we are sitting at cinematic scalability over here. Now, I would say, one thing
to not forget is that, of course, we spent a lot of time making this
Wi Awesome Shader. One sec, sorry, I'm going
to go back to my Epic. And I'm going to set my
screen percentage back to 75 because right now I'm rendering at double the screen percentage, which is a little bit overkill. Okay. So at least here see
now my scene is running at, like, a perfect 60 FPS probably. It says 40, but
it's more than 40. Like, this one is never echoed. Anyway, as I was
saying, of course, we spent a lot of
time working on this really Awesome looking
material and stuff like that. Now what you can do
is at this point, you can do a pass where
you basically go into your textures and you lower the resolution of
them in order to basically get the best
out of your scene. Now, you can do two things. If you are making screenshots for your portfolio, for example, then what I recommend
is I recommend that you basically
just temporarily set everything to four K to get the absolute best quality
you can get, which is this. However, if you are
making this for a game, then I would start
optimizing this. What I tend to do is
for my base color, I tend to keep my base color
always a little bit higher. So you can say, your
base color can be, for example, 1024 or 2048. And then you can go into
your masks over here. So we have this mask over here. I can go ahead and
sent this one to 2048. Because my mask, you can see my mask does actually
ignore our resolution. So it needs to be
a little bit more, although you can probably
get away with 1024. Yeah, so it's up to you.
I'm going to go for 248. And then my stair, this one, which is our normal map, this one is quite
important, I believe. So we have our ambit
seclusion and our roughness. So yeah, probably also leave it at the same resolution
as your base color. You can try to go a bit lower, however, your roughness
response might suffer for it. You can see that it makes
very little difference. However, take it with
a grain of salt. Like, if we are making
a scene like this, we are able to go a
little bit higher. So you could go in and just in all of these things
basically here. So we have our side walls. We can open it up. We can
go to our side walls. And if we just go
ahead and let's say, open these, right now
they are at four K, and you can basically lower
it down until you are willing to accept
the resolution. Like, over here, you can
see now I'm at 10:24, and I'm still happy with this, although I do not
like my plaster, so I would need to like the
te better a slice normal to my plaster over here because
I believe right now it is using metal and I
wanted to use concrete. It's stuff like that. So
you can basically go in, play around with it,
see what you want, because I'm going to 496. So here we go. Because I'm going to take some screenshots, I'm not going to do
this, but I hope that you understand that this
was the whole goal of it. So over here, we have this really nice door with really nice roughness
reflections. And that's definitely
one where we can also go in lower the things
down a little bit, and it should still
read quite fine. Of course, it works better
with some surfaces. This works great with, like, wood and with concrete. It works less good with metal because metal doesn't
have a lot of definition. But if I go from four K
to 1024 and remember, this is a massive prop, you can see how little
difference it makes. Over here, 1024, you can see that now my roughness starts to
suffer a little bit, so maybe 2048 for this one. But you can see that and remember this is
this entire thing. This is this entire
massive thing. We are able to do
this really well. Especially if you
leave your masks high. I can even Let's try for fun 25, six, here, 256. Imagine that. We are sitting at 256 and
still because of the norm map, it is reading totally
fine and from distance, it's also reading totally fine. So anyway, I'm going to go for highest resolution just because I'm going to take some
portfolio screenshots. When you want to take your
portfolio screenshots, what I recommend doing is I recommend that you basically
go to your view like this. Make sure to press G to
basically go into game mode. Make your window a
little bit larger. Down here in the
console command, the one that you want
to turn on right now is R tone Mapper sharpen
and set this to 0.5. As you can see, what this
will do is it will add a little bit more
sharpness to our scene. If we combine this by
going down here and setting our screen
percentage to 150, now we have a really
crisp looking scene. At which point we can go to our high resolution
screenshot down here, set this to, for example, two, I'm not going to go
we higher capture. Although, wait, I
forgot that I need to go to cinematic scalability. Let's go cinematic over here. Let's go ahead and
just off course, right now it is Willy Willy
slow because I'm rendering cinematic and at a
double resolution. And it is already slow because
when you take one image, it will always slow down a bit. But if I just very quickly
go in here, press recapture. Give it a few seconds
to go back to original, turn this one on, and capture. And now you can
see that it takes. When you take your first
high resolution screenshot, your entire system is already running a little bit
lower because it takes a lot of GPU and CPU to basically take these
screenshots, especially GPU. This means that your
second screenshot will be even slower to capture. Your entire scene will
basically just slow down. I don't know if it's
a back or something, but what I tend to
do is once I'm done, I tend to just go
ahead and press save and then close unreal. But for now, you can see that now here is our end result,
our final screenshot. You can also see like
this one was high. You'll see that difference. So this one was at
a high resolution, and this one is at cinematic. So it just reaches out those shadows also
quite a bit more. Although this feels more
like a bug, actually. It should not be this bad. But here you can see
that now we have this really nice high resolution
screenshot over here. And if you want, what
you can do is you can go in our Photoshop scene, and I already kind of did
this, but I will do it again. You can go and
create a new scene, let's say, 2560 by 14 40. Add a black solid color. And then dragging your image. And now it feels a
lot more cinematic. And I would say that
that is about it. I feel confident
that now we have a really nice
looking environment, and I feel confident to
calling this done right now. So that was quite a course. Probably one of my longest
courses I've made so far, or second longest course. But we covered a lot of stuff, and I think we end up with
a really great result. Of course, some things
to keep in mind is that using nanite it
is unreel specific. So make sure that you do not make all your scenes
using just nanite. Make sure to also learn
the normal techniques. We, of course, did learn the normal techniques
because all of these wood pieces over here, we did not boost in nanite. We just used the original techniques with
weight and normals, and you can see
that you can very easily get this balance. Keep in mind that nanite can
push in a lot of polygons, but it takes a lot of memory
to load in such large files. That's why you want to
tie and balance and not just throw everything in at the highest possible
polygon count, but actually optimize things. In general, I just hope that
you learned a lot from it, we covered so much and
please leave a rating if you enjoy this course
and I hope to see you in any of my future
or past courses.
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