Master 3D Scanning: The Pro Workflow (Blender, Maya & Unreal)

1. Introduction of 3DScanning: Have you ever wanted to create a professional, realistic TD model? Without needing years of modeling experience, the secret is in the eye or some expensive studio tricks. We achieve this quality using the camera you already on, your DSR, or even your smartphone. This is the professional result you'll be getting by the end of this course. Fashed the owner of Polsgi. Since 2018, we've been a trusted seller of high quality through the scanned assets to Top Studios. We scanned over 500 unique models. And now I want to share all of the secrets and the production workflow with you. You can see our quality for yourself. Check out our website or watch our short film, Tree Men. Every model in that film was made using the exact technique you'll master here. We start with learning the proper way to use your camera to get the perfect shots. Then we prepare those photos to become a highly accurate three model. Next is the technical part. We cover topology and cleanup. We won't stick to just one tool. We use Blender, Maya, and ZBrush. So you can pick the best workflow using free or low cost tool to save your money. Finally, we perfect the look. You learn professional rendering in cinematic engines like Arnold, V Ray, and RenderMan. For game artists, we make them game ready by sitting up material in Marmoset, real, and Blender, giving you that perfect final look. My promise is simple. We leave nothing out. There are no secret or hidden tricks. You'll be completely self sufficient after you finishing this course. So let's get it started. 2. Chapter 0 Introduction to Photogrammetry Tools: You can choose any object you like for this course. Anything that catch your eye. It could be a piece of wood, or even a small toy. This course covers all the essential techniques you need to know. Our goal is to reach a result by this model, preparing the object for animation, game engines, or any type of visual presentation. Let's begin by talking about the equipment you'll need for this process. You need a rotation base, which you can easily find a pastry or baking so the stores. A triple for the camera is absolutely essential. You also need a white background to help mask your object. One of the most important tools is a polarizing filter for your camera and your light, which removes unwanted reflections. Even though we use natural light, having a flash or extra light helps improve photo quality. And here's a protein. A polarizing filter for your lights makes a big difference, too. Here, by rotating the camera's polarizing filter, you'll see reflection disappear, revealing the real texture of the object. We'll also use a color chart to correct the white balance. When photographing the object, rotate it slowly and take multiple shots for different angles. Then adjust the object's position to capture photos of the hidden areas. For this rock, we ended up taking about 240 photos. Now let's go and prepare them. 3. Chapter 1 Editing Photogrammetry Images in Adobe Lightroom Part 1: Okay, for a start, open Lightroom and go to the ad folder section. Locate the folder that contains your captured photos so Lightroom can recognize and load them. It will begin importing automatically. Now click Check all to select every image, then hit Import. Wait a few moments until all the images are completely loaded. Okay, perfect. And everything's loaded now. So let's move over the Developed section. Here, you will see our color checker image and other images. Then click to select it, then press Control A to select all other photos. Now all of them are selected. So make sure autosn is turned on. It's so important. The first thing I like to do is changing the color profile. I switch from Adobe color to Adobe Standard. For photography, Adobe Standard provides a more neutral tune and natural looking color balance. It gives us colors that are more realistic and easier to calibrate later. Overall, it simply gives better results for this type of workflow. Next, we will fix the white balance. For that, use the white balance selector tools and click on a neutral area and color checker. Now, all our photos share the same accurate white balance. Next, let's open of the rock images to fine tune the look. Here are the key settings we will need. For photogenergy, keep the highlights low and reduce the shadow slightly. This gives a flatter, more balanced result and keeps our textures closer to the original Albedo. Next, enable and remove chromatic abration. Some lenses show more color fringing than others, but turning this on helps achieve clean, accurate aids. Even if the difference is small, it's still best to keep it enabled. If your photos appear noisy, you can add a touch of luminance noise reduction. In my case, the DCT is already great, so I'll leave it off. If needed, feel free to adjust it slightly. There are no other special settings we need here. When everything looks good, it's time to export our images. Head back to the library tab and click Export. Name your subfolder, JPEG, and set the quality to 100%. Leave the other options as a default and click Export again. Lightroom will begin exporting all of your images, and we're done. 4. Chapter 2 Editing Photogrammetry Images in Adobe Lightroom Part 2: In this section, we're going to talk about how to fix photos that have different exposure love. For example, some shots may look too bright while other appear too dark. Let's go ahead and correct that. First, find a photo that looks probably exposed to your eyes. It looks balanced and clear. Select that photo first, then select all the others you want to match. Now go to the setting menu, choose the option, call it match total exposure. As you can see, Lightroom automatically adjust all the selected photos to have the same overall exposure. Now every photo has a consistent brightness level. This ensures they all share the same exposure value perfected for photogarametry. There is also another option called it auto. But what's the problem with auto? When you press Auto, Lightroom chains multiple parameters, which can ruin your photos consistency. That's why I prefer to take control manually. So instead of Auto, always use match total exposure. All your photos, no matter their original brightness, will match perfectly across the set. 5. Chapter 3 Masking Images in Adobe Photoshop – Automating with Actions: Welcome back. In this video, we're going to talk about how to mask photos in Adult Photoshop. We mask our photos, so they're ready to use inside Photogrammetry software. This helps us reduce processing time and give us a cleaner, more accurate result. To begin, import one of your photos into Photoshop. Go to the action panel and create a new action. Let's name it, for example, Rick mask. Then press the record button to start recording our steps. First, select the section tool and outline your object. In this case, the rock, selected and go to select, modify, expand, and choose around 70 pixel for the expansions. Next, press invert to switch the selection to the background. You can use the shortcut key for invert to make this step faster. After inverting, press Shift a five, to open the field dialect. Choose a solid color either black or white. So then click Okay to fill the sections. And just like that, you've created your mask. Press the stop button in the actions panel to finish recording. Now save the action color cold Rock mask. Next, go to the fog Scripts image processor, choose the folder that contains your JPEG fools. Select the same folder as a destination and make sure saves JP is checked, set the quality to 12 for maximum image quality. Then under actions, select the Rock mass action you just created. Then enable run action and choose it for the list. Finally, click on to start the batch process. As you can see Photoshop automatically mask each photo one by one. This automation speeds up the workflow and gives a consistent result for photogrammetry. 6. Chapter 4 Reality Scan – From Alignment to Texturing: Hi. As you saw in the previous part, we created our masked photos in Photoshop. Here are those images, fully masked and Nitti lat for processing. Now, I select all of them using Control A, then drag and drop into Reality Scan. You can see we now have 241 photos successfully imported into the software. So next open the alignment setting panel. I'm leaving most setting at their default values, just like you see here. Now click Align Image to start the alignment process. Okay, great. The alignment process is now complete. As you can see, our first point cloud model of the stone has been gurtd. It looks completely accurate and well captured. So if you select the complementt here, you see that it contains about 2 million points, and it's a great result. Next, go to the tool section, click on set ground plane. Define ground plane. Adjust it, so the ground sets, just a bow grid for correct model orientation in the other three software. Now in the mesh tool section, adjust the bounding box, so all points stay immutely inside the frame. Everything inside this box will become part of our treating model. Once that's said, we can generate the mesh. So select high detail to get the best quality possible. Reality Scan will now process your photos into a detailed TD mesh. Now processing conflict, here's our high quality stone model. As you can see, it's very detailed and sharp. When we select the complent model, we see it has about 32.9 million triangles. Okay, the model is beautiful, but the file is very heavy. So let's simplify it. Use the simplify tool found in the mesh Tools menu, we can target a lower triangle count. Around 15 million is perfect for export while keeping fine ditals. Inter 15 million and click Simplify. Okay, simplification complete. Now we have a lighter version of model. This new mesh contains 15 million triangles, still detailed, but easier to handle. Now let's clean up the model to make sure it's a single solid piece with no straight geometry. Use the lasso tool to select the small region and then click Expand to select connected phases. Now invert the selection, then use filter selection to remove unwanted parts. Now that you're sure the object is a single piece. Go to the mesh model section to start creating textures. Select Unwrap to generate UV maps for the model. Set the maximum texture resolution to eight K. That's a great choice for this object. Then click Unwrap to begin the process. Reality Scan will unwrap the model and create optimized UVs automatically. Once Unwrapping is done, apply texturing to bake the final maps. Now the texturing is complete and the model looks sharp, clean, and high quality. Next, go to the mesh model, dense mesh model to export it as an FPxFle. Choose your export folder, set the format to FPx and click Export. Once the export is done, the mesh is ready for topology. Okay, now we have it. Our high polymodal is ready in just 17 minutes using Reality Scan. 7. Chapter 5 Reality Reality Scan Mobile – Smartphone Result: Welcome back. In this section, I'm also using a smartphone instead of a professional camera for photography. This way, we can compare the difference between using a DSLR and a mobile phone. The process is exactly the same as before. None of the steps change. You'll still need to mask your photo in Photoshop and follow the same workflow in reality scan until you reach the final texture TD model. In the upcoming son, we'll compare both TD scans, one capture it with a smartphone and one with a professional camera side by side. As you see, at this stage, there is almost no difference between GSR and mobile photo for this system. We'll compare both three scans. One captured it with a smartphone and one with professional camera side by side. There is almost no difference between GSLRPhotos and mobile photo for this system. 8. Chapter 6 Metashape – Building and Texturing the 3D Model: I open up Metashape, and now we're going to process the masket photos we created earlier. Let's load the maske stones photos and test the output quality. I'll select all stone images and drag them into the workspace. All our photos are now successfully loaded. Next, go to the workflow union and choose aligned photos. Keep all the default settings please, but make sure the alignment quality is set too high. We won't change anything else. Just click Okay, to start the alignment process. And here we go. The point clot has been durated. Now we can move forward and build the mesh. As you can see, the dance clout contain about 67,000 points. Next, go back to the work flu menu and select Build model. Under surface type, keep it on depth maps and set the quality to ultra high. Don't change any other settings. Just click Okay. Now Metashape begins the model calculation, and once it finishes, the mesh will appear. You'll notice a border texture applied automatically. This is just a preview of the U area. Let's continue by creating the final texture. Go to workflow and select Build Texture. Set the texture size to 8192 for an eight K result and keep the rest as a default. Then kilo to start texturing. The process is complete. The Stone model has been textured beautifully. It's now fully ready for export. So go to File, Export model, select PNG as the texture format to ensure maximum quality. Leave the other option unchanged and click Okay to export your model. Now our three model is ready. In the next lesson, we'll compare DSLR with mobile and RealityCapture with Metashape software. 9. Chapter 7 Comparing Scan Data Output – Reality Scan vs Metashape & Camera Tests: At the top left, you can see the output mesh created in Reality Scan. It was exported with maximum quality settings, and right beside it, you can see its texture. The total processing time was around 17 minutes. Running on an RTX 30 19 GPU and AMD, 39 70 XCPU. Below that, we have diversion generated with medium quality settings where some details are reduced. However, the processing time dropped to just 7 minutes. And honestly, there is barely any visible difference in texture quality. Now here, you're comparing two scans. One from Google Pixel nine smartphone and one from Nikon D A ten DSLR. You can clearly see that the smartphone model shows more surface noise, and its texture color shifts slightly away from real world tones because the phone camera s a polarizing filter. Reflections and shadows appear uneven on the texture. But here's the most interesting part. Metashape, even with fewer triangles and longer processing time, produced absolutely stunning results. Honestly, I was impressed by the outcome. The texture is cleaner and more detailed with a natural realistic finish. So from here on, I'll be continuing with the Metashape model as my preferred choice for further work. 10. Chapter 8 Topology in Blender – Part 1 Quadriflow and Voxel Remesh Workflow: In this video, we'll explore topology and Retopology in Blender, an essential step for clean optimized three D models. I've imported our high quality stone age into Blender, and now it's time to create proper topology. Inside the data properties menu under remise, you find two main options auxel and Quad. For this example, we want to generate a Quad based output. So I'll open Quadriflow and disable symmetry. Since our object isn't symmetrical, I'll set the phase count to around 4,000 and click Image to see the result. If you encounter an error saying your model must have consistent phase direction or be manifold, don't worry. We'll fix it. One solution is to switch to Waxllimage. Set the wax cell size to 0.01 for higher detail and tighter polygons. This reduces the polygon cont, but adds better surface uniformity. Now enable fix pulse that resolves the previous error and prepares the model for clean topology. Select Voxel Remesh to generate the base mesh. You'll see it creates a temporary mesh that's good enough for starting retapology. Next, switch back to Quadriflow Remesh. This time, set the smooth option to normal and again enter 4,000 phases. Now, you see it's worked perfectly without any errors and start the retpology process. Turn on Wireframe view to inspect the inner edge of our model. I generated about 3,400 vertices solid and efficient result. Let's undo this step with Control Z and try again. This time, I'll set the phase count to 2000 and run remise again. It now gives us around 1697 vertices, which is a great low poly topology for our object. 11. Chapter 9 Topology in Blender – Part 2 Optimizing the Mesh with Quad Remesher: In this course, I want to try how quadrms works into Blender. Now, we are going to take a closer look at how our topology turned out. Select the object and press the key. This opens the sidebar. Here, select quadRmsure. Let's set the Quad count to 5,000 and see the result. Collet remesh once and wait a few moments for the process to conflate. Now let's enable wireframe mode to get a clear view of the mesh. Also turn on statics to see object information like vertex and face count. After checking, we see the model has about 8,000 vertices. That's a bit too high. I'll press Control Z to undo it. Then I'll set the quad count to 1,000 and run remeshe again. Let's wait a moment to see what we get with this new setting. This time, the result shows around 2000 194 vertices. That's a nice balance. It's not bad at all for a clean low polymsh. Now, let's try lowering it to, for example, 800 and see if we can get an even better polyicond. Click Remesh again and wait for it to finish. Great. Now we have around 1780 vertices, which is right where we want it. That's a perfect balance between detail and efficiency. Now we can export the model for the next stage. 12. Chapter 10 Topology in Maya – Fixing Non Manifold Geometry and Retopology Workflow: In this video, we're going to see how to perform Retopology inside Maya. First, open the mesh menu and select Retopology. Click reset settings to start fresh. Then set the target phase count to 2000 and click Apply. If you get an error saying Non Manifold Geometry, don't worry. We can fix it. Go back to mesh menu and choose cleanup. Rest the settings again to default, enable the Non Manifold Geometry option and click cleanup. Sometimes this works right away. Other times, it doesn't, depending on your model. If it still doesn't fix the problem, there is an alternative way open the modeling Blender, go to the data properties menu, choose Remesh and select Waxel. Set the Waxel size to 0.01, check all preserve options and click WaxlRmsh. Instantly, you'll get a clean mesh. Now export this new mesh from Blender and import it back into Maya. This way, you won't run into the Non Manifold Geometry issue again. Next, select the object in Maya. Go to the mesh menu, choose topologize once again, click Edit and set setting to start clean. Set the target phase count to 2000 and apply. Let's see how it's worked now. The topology should run smoothly. Great. Retopology conflate. To check the result, go to display heads up display and enable polycond. You'll see the bottle has around 2057 vertices. If you want a lower count, use the history slider to reduce it to about 1,800. This creates a slightly simpler and cleaner mesh. Perfect. Now we have an optimized 1,800 vertex topology ready to export. Finally, export the model and compare it with the other outputs to evaluate the results. 13. Chapter 11 Topology in ZBrush – Clean Retopology with ZRemesher and Projection: I've imported the model into ZBrush, and now we're going to retropologize it. This model comes from the Metashape export created using the ultra high settings. First, I'll duplicate the mesh so we can work on a copy safely. Next, go to the Geometry tab and select Zimsh to start the automatic topology. Let's see how many polygon Zi mesh created by default. ZBrush begins processing the mesh. The result shows around 8,700 polygons, a bit too dense for our needs. So I press Control Z to undo and set the target polygon con to zero point A. That's around 800 polygons. Then I run zero meshing. Keep in mind that ZBrush usually create a slightly higher count than what you said. That's good. Next, go to the Subtools menu, active solomo to focus on this object. Then press project out to transfer the details from the original high polymsh. This ensures the new topology matches the original form perfectly. Once that's done, we can export this model for UV mapping and further refinement in Blender or Maya. 14. Chapter 12 Topology Comparison – Blender, Maya, and ZBrush Results: Here we have a compression of topology results from different software package. The Blender quadrmage result looks quite good, clean and well organized. Overall, it's a solid and acceptable result for most projects. However, Blender image is not very suitable. The edge loops don't follow the natural shapes and flu the model. Maya also performed decently in most cases. But around certain edges, the polygon density is inconsistent and uneven. On the other hand, Zi brush produces an edge flow that aligns beautifully with the surface, and the edge density is better, especially around the border and corners. This creates a more accurate, detailed and perfessional looking topology. So for this project, I'm going with the ZBrush versions as my final choice. 15. Chapter 13 UV Mapping in Blender – Cutting Seams and Unwrapping with Checker Textures]: Hi, welcome back. I brought this mesh into Blender. We will be doing the UV part directly here in Blender. Before we start UV mapping, let's give our mesh a new material. I create a new material, then go to the shady retitor. I hit Shift A to add a note, choose checker texture, and connect it to base color and set Roughness to one. Now I go to the TLDviewport, press Z and choose Ren red mode. This shows us the current UV layered condition. Then I press Z again to go back to solid work. Now, we can start U editing. Switch to the U editing workspace. Begin selecting ages to define sims. I hold control and click around the edge. I want to mark as SIMS. Once selected, right click and choose Mark SIMS. Continue doing this process for the other side. Select Control click and Mark SIPs. Now, I'll repeat this method to cut the entire model into kleiner sections. For best results, always cut line the edges and flat surfaces. Avoid sharp curves. This helps with killing ois. I keep repeating this approach all the way to the end of the model. Once most seams are done, press A to select all faces. Press U and choose unwrapped. Now our UVs are unwrapped. Oh, we missed ones. There is an uncut edge. Switch to edge select mode and select that edge. From the UV menu, choose Mark Sims again. Press and wrap again. Now, all section are separated properly. Double check to make sure the areas are cleanly separated and not stitched together. Now I hit Z again and switch to rendered mode. You might notice the checker pattern looks distorted. To fix this, go back to the shader editor. Here's our current texture setup. Let's add two nodes, texture coordinate and mapping. Connect Vctor to vector, set the scale to ten, for example, or even three for more visible tiling. Now, the checker board looks correct and it's evenly tiled. 16. Chapter 14 V Mapping in Maya – Full UV Cutting, Unfolding, and Layout Check Process: Welcome back. It's time to UV the model in Maya. I've imported the base machine to Maya. Let's begin by giving it a proper UVlayou. First, select the object, then go to the UV editor. I'll start by assigning a basic UV using planar projection. Now we drop back into object mode again like the object. Since we can't see the UV outline, let's close the editor. Now, we're back to the default material preview. Next, from the shelf Editor, I'll select the TD cutting and sewing UV too. Double click to create continuous edge loops for UV cuts. I will make cuts along this side and then continuous across connected lines for flat UV layout. Now, I'll cut this regime and link it to another site. You can move around freely, and if you make a mistake, just hold Control and click to undo that edge selection. Now, I'll continue slicing up the model this way to create manageable UV shells. Remember, always try to place your UV cuts along flatter. Less curved surface for cleaner wraps. This technique will give you more accurate and efficient UV maps, especially useful when baking or texturing. So I'll keep cutting just like this until the whole model is sectioned out. All right, press cue to exit the cut two. Switch the object mode, open the UV editor again, go to the Unfold section, and then click Unfold. After that, click arrange Layout and then layout again to organize the shells. Now, let's preview the checker texture to verify alignment and spot any UV issues. Use FK to focus on different area and inspect them closely. Everything looks good. Just make sure no eggs are accidentally stitched across shelves. Seems like we are in good shape. Now, hold Shift and click Layout to access layout settings. I'm using Fold three D option with 256 packing solution for this example. Feel free to adjust these values for best optimization. Okay, switch back to object mode and press seven. Screol and make sure no areas appear red color indicating UV or lap or distortion. Okay, that's it. The UV processing Maya is complete, and we're ready to move to the next step. 17. Chapter 15 Scaling in Blender – Match Dimensions for Accurate Export: We need to make sure our object matches the real world size of the original stone. So we import both model into Blender, the base mesh, and the high ple Scan from Metashape or reality scale. This lets us accurately match their dimensions. Head over to the SIM menu and open the units panel. We'll set the unit type to metric and adjust the unit scale to 0.01. Let's set the len 2 centimeters. Now, grab the ruler tool right here and measure this object in real life. It come out to be about 25 centimeters. But here in Blender, it's only showing 2.5 centimeters. So if we scale the model up by ten times, it should match the real word ci. So select the model, go to the object menu and scale it by ten. We need to do this for both the UVN rapid model and the high poly moodel too. Now, with both models selected, go to Object, apply, and choose all transforms to Deltas. Perfect. Our models are ready for export now, and from here on out will only work with these correctly scaled version. 18. Chapter 16 Baking High Quality Textures in Marmoset Toolbag: With you, I'm going to show you how we make our texture maps in Marmoset Toolbag. To start, just import the low poly image and then import the high poly image we got from the Metashape. Next, we need to import the bit texture for that high polymage. All right. Now, let's select new big project right here. We put the low polyobjc in the low section and the high polyobjet in the high section simply enough. In the low section settings, set the max of set to 0.1. Now we'll head over to the main bake project settings. First up, set the baked mode to offline. Interactive mode, lets you see in real time. But offline mode is what we need to hit start with. We can leave the other settings alone for now. We don't need to mess with the tangent space. Set your output path here and give the texture files a good name. Let's set the format to P and G. We set the sample rate to 64. 64 should be great. Set the padding to custom. A padding size of egg is usually plenty. And of course, set the resolution to four k. The maps will be baking our normal map and ambient o collation. Hit configure and make sure the Albedo option is chicken. So we can export that too. Now, he'd start to generate those texture maps. Awesome. All the maps are ready to go. Let's quickly test our maps right here. I'll assign a new material and import the Albedo I'll set the roughness to one, then I'll mute the Albedo, so we can clearly check the normal map detail on the mesh. This is the normal map. As you can see, we have great high definition detail. Bake it onto our low polymish. Now, I'll import the ambient colision map. I also turn on the occulsion slot and import that map. I'm really happy with this result. Let's move on to the next step. 19. Chapter 17 Mudbox Displacement Map Getting Accurate 32 bit EXR Bakes: Alright. In this video, we're jumping into Mudbox. I've already imported the low poly and high polymodels here. The goal is to get a 32 bit displacement map. But first, we need to verify the object size. Mudbox has this tool called it the caliper. I click and drag it across. It currently say 2.5 centimeters, which is way too small. In real life, I measured this stone to be about 24 or 25 centimeter. So we need to scale this up. I'll select the base mesh, click on scale, since it should be about 25 centimeters. Scaling it by ten should get us the correct size. I'll select the high polymsh next and scale that by 102. I'll just move it into position and hit frame off. Now, both objects are at the correct real world size. If I use the caliper game, dragging it across confirms we are now at about 25 centimeters. That's the correct size. Before we do anything else, go to object, edit, and select freeze transformations for both lists. This is an important cleanup step. This basically resets the scale and transforms. Okay, now to the baking, head to the UVN Maps menu, choose extract texture maps, hit new operation, and select displacement map. For the target model, pick your lowest object. For the source model, pick your highers object. Don't change method option. For samples, sit closest to lower mesh and hit best guess. Then it test both sides, select four k for image size, and choose custom for edge Bleed option. And we'll use four ICs untaizing. For the texture, we absolutely want to go from eight bit to 32 bit. Set the format to EksR. That's the highest quality 32 bit format we can use for displacement. I name the file rock underlying displace. Hit extract and let it run. One final thing. Once that displacement map is finished, we need to export our base mesh now that it's correctly scaled. Just name it rock base scaled and hit safe. 20. Chapter 18 Quick Bump Normals from Albedo using NVIDIA Texture Tools: Now, I'm going to use the NVIDIA Texture Tools to quickly create a bomb map from our Albedo texture. This is free software, and you can find it at this URL. Just scroll down and grab the standalone application for Windows. Okay. First, drag and drop your color texture in here. I select color map for the tangent space. Next, in the scale parameter area, we have this power value to control the detail amount. We need to check both invert X and invert Y to set it to OpenGL mode for compatible with most three the softer. For the value, I'm setting it to around eight or nine. There are no other special options needed. Just export the Bombormal map as a PNG. 21. Chapter 19 Quick PBR Maps Creating Roughness and Metallic in Photoshop: Okay, I've opened up our Albedo map in Photoshop. We're going to use this to quickly create a Roughness map. To do this, we'll start with image adjustment, heat saturation to desaturate the image. Next, we'll use levels. Remember, on a Roughness map, white means rough or matte, and black means smooth or shiny. Since our rock is natural, it needs to be mostly rough. So we want the image to be mostly lighter. Let's avoid any super dark pixel to keep it from looking wet or polish it. I think this is looking good. Now, just export this image as our Roughness map. Next, we need a Metallic. Let's just create a new two k image. For this rock, the Metallic map needs to be purely black, since it's a non metal. I'll select the black color and hit Okay. You can save this black map as your Metallic map. 22. Chapter 20 Blender Eevee PBR Setup Blending Normals and Materials: I got the base mesh loaded into Blender now and we're ready to set up the final render. Let's see how all those Texture map looks when they're plugging in. First, set the object, go to the material properties and create a new material. We'll jump into the shade Editor. First thing, normal map. Remember, we have two of them. Since we have a main normal map and one normal map, make sure their color space is set to non color. We need to mix them. So hit Shift A and bring in a mixed color node. Connect the main normal to slot A, the bomb normal to slot B, and set the blending mode to overlay. Next, press Shift A again and add a dedicated normal lab node. Connect the mixed color result to the color input of the normal map node. I'll move these nodes over here. Now, connect the normal output to the normal slot of the main material. Let's test this out. Switch to render view and bring in sunlight to see the detail. Select the light, change it to Sun type, and I decrease the strain to ten for a better view. If I routed the light, you can clearly see the full range of detail. The normal map is working perfectly. Just quickly check in the render setting. Sampler at 64 and tering design. Good. I quickly decrease the dry a bit less. That looks much better. This is our final normal map result. Now, back to solid mode. Just confirm the normal map mode is set to tune on space, and string is at one. Okay, next up are the Albedo and inuclon maps. Let's drag both of them. Hit Shift A again, and add another mixed color node. Connect the minclen to slot B and the the do to slot A. Change the blend mode to multiply and connect the result to the material base color input. Let's switch back to rendered mode. In the render passes, we'll choose combine it. Looks like the amclen is working fine. Time for the final maps, Metallic and Roughness. Let's drag and drop those in. Remember, to set the color space to non color as well. Connect the Roughness map to the Roughness slot and the metallic output to the metallic slot on the matrio. There it is. All the textu maps are connected, and we can clearly see the shaders working correctly. 23. Chapter 21 Blender Eevee Final Details Activating 32 bit Displacement: Okay, welcome back. Let's drag and drop the displacement map in here. Then hit Shift A and search for displacement node. Connect the displacement maps color output to the high input of the displacement node. Make sure the textures color space is non color here. In the displacement node, set the space to work and set the mid level to zero. We use zero because this is a 32 bit map. Let's set the scale value to one. Just quick note. I can also connect the bomb normal map directly here instead of mixing the two normal maps. Connect the displacement node output to the main material displacement input. And as you can see, it's working perfectly. Now we click on the material options and change the displacement mode to displacement and bump. In the next step, we'll add a subdivision modifier to the mesh. Go to modifiers and search for subdivision surface. I'll set the subdivision level to three for both viewport and render. That's enough for now. Awesome. We now have our final model with displacement connected and fully working. 24. Chapter 22 Maya Arnold Look Dev Setting up PBR Textures and Displacement: I've got our base mesh imported into Maya. Let's set up the materials and see our development in random. First, set the object and assign a new material. Go to Arno tab, select AI standard surface. Head to Window, node editor, and graph the material so we can see the nodes. Now, dragon drop all of your texture maps in here. Time to connect. Connect the Albedo map to the base color and set the color space to raw for the Roughness map, the Metallic map, and the bomb normal map. One more thing. For the displacement map, check the offs luminance option. Click on the material no, connect the arc channel of Roughness to specular Roughness and the arc channel of Metallic to metalness. Now, hip tab and search for the Anrmal map node. Connect the normal textures out coolor to the input of the Ainrmal map. And then connect the AI normal map to the normal camera slot. To connect the displacement map, select the shading group node and connect your displacement map to the displacement map slot here. Now, time to test our lock development using the Rn rendering. I've quickly set up a physical sky environment and just increase the exposure style. Click on the Arnold render button and let it catch those textures. The first look appears to help the displacement, I'm going to add subdivisions. It's necessary. Four divisions should be enough for a good result. I just adjust the light for a better view, maybe a little more exposure and awesome. We have a great final look here in Maya with Arnold. You can see the excellent quality. 25. Chapter 23 V Ray PBR Setup Materials, Displacement, and Lighting in Maya: I've got the object imported into Maya, and now we are rendering it using V Ray. To start, select the stone, assign a new material and open the node editor. You should see the V Ray til node here. Now, inport all of your texture map. Let's set up the textures. Metallic Roughness and Bonormal must have their color space set to the Albedo stays on the SRGB. For the displacement, set it to RA and make sure Alpha is luminance is checked. Now, let's connect the displacement map. Click on your V NTL node, so the attributes show up. Drag the bit map onto the diffuse color slot. Set the bomb map type to tangent space and connect your bomb normal here. We'll set the reflection color to mid level gray. That's a good default value. Turn on use Roughness since we have a map for it. Now, connect the red channel of Roughness to the reflection glassiness. And finally, connect the red channel of Metallic to the metalness slab. Next, select the object, go to attributes, V Ray and displacement control. Check the keep continuity. I'm using open sub divier. I'm using video GPU for ending, which makes the final look similar to CPU. If you want a simpler workflow, you can adjust the subdivision and displacement quality settings. Now, let's light the scene. I'm creating a sunlight and a physical sun and sky system. Select the sun in the outliner, and let's start by setting the intensity to 0.1. Okay, that exposure is too high. Let's try 0.03 or 0.05 actually looks the most appropriate. Look at that. The rock looks great. It meets the quality we were aiming for. I'll just reduce the background color a little so the focus stays entirely on our object. 26. Chapter 24 RenderMan Setup PBR Shading and Displacement for Realistic Stone: Okay. Let's render our stone using the rendermanPlg in. We're going to see how its look. First, select the stone. Since we are using this placement, make sure to turn on the subdivision for the mesh. Now, let's jump into the node editor. Pressing tab please. We're using a Metallic workflow. So we need the Pixar Disney Metallic. It's the best choice in renderman as it correctly support the metallic parameters. First, Regan drop the bit map. Connect its output to the base color slot. Next, bring in the bob normal map. Important thing, make sure its color space is set to RAW or R. For normal maps in renderan, we use the Pixar normal map connect the textures output to the nodes input normal and then connect the pixel normal map node to the shaders bomb normal parameter. Now, I drag in the rest of the maps, Roughness and Metallic. Verify that the color space for both of them is set to RAW. Connect the out coolor R channel of the Metallic maps to the Metallic input slot and do the same for the Roughness input slot. The last map is displacement. Select the texture and check Alpha is luminance. We need two nodes for professional displacement. The main Pixar displaced node and the Pixar displaced transfer for fine tuning. I'll connect the Pixar displaced transform to the scalar displacement parameter. Since our map is gray scale, connect the displacement texture to the scalar parameter of the transfer node. We'll leave the parameters default for now. Finally, select the Pixar Disney shading group and connect the Pixar displaced node to the renderan displacement slot. And just assign the material to the stone. To test, let's create a doom light and turn on the IPR. I'll add a pixel distant light for shadows, lower the doom lights exposure and boost the distant light exposure. I'll then we take the light to check how the details react. Perfect. This is the final renderer Look of the Stone in renderan. 27. Chapter 25 Marmoset Toolbag Setup PBR Textures and Lighting Check: I've already imported our base stone into Marmoset. I'm going to create a new material and hook up all the texture maps we made. Let's start with the normal map. I connect it and we can immediately see the normal map is plugging in and looks great. If I tick the lights a bit, we can see all the details pop perfectly. I'm adding a direction light to the scene to check the surface. I'll just boost the brightness a bit so we get a clear view. Now, we have the secondary bomb normal map. In the normal section, check detailed normal and connect the bomb map here. Next, iconic the Dump. Followed quickly by the Roughness map and the Metallic map. Finally, check the occulion slot and connect the amino collision map. Perfect. All our essential Tixre maps are now connected to the object. I'll increase the direction lights brightness and then pull back the sky brightness a little. That looks great. As you can see, the quality of stone is absolutely top notch. 28. Chapter 26 Unreal Engine 5 PBR Material Setup and Normal Map Blending: Alright, last step. I've imported the stone into Unreal Engine. Let's see how it looks here. I'll direct the stone into the scene and drop all the textures into the content browser. I'll right click the Albedo and hit Create material. That gives us a base material to start with. For all those gray scale maps like Roughness Metallic, select them and make sure you unchecked SRGB to set them to RAW before plugging them in. Our normal maps were made with OpenGL, but NIL uses DirectX. To fix this, open the normal map, search for flip green, check it and save. You need to do this for both normal maps. Double click the material to open the editor. The Addo is already connected, which is good. Ldragon drop the Ambien collision map and connect. Then drag in Metallic, connect the out color to Metallic slot and do the same for the Roughness map to the Roughness slot. We have two normal maps. The main one and the secondary bomb detail. We need to blend them together. So hit tab and search for the blend angle corrected normals node. This is the one we want. Connect the main normal to the base normal slot and the pump map to the additional normal slot. This plants them nicely. Then connect the result to the material's main normal slot. Hit save and close the editor. Now, assign the new material to our stone. Perfect. As you can see, the material is ready to go. Let's take a look at the final result for a few different angles. H