All language subtitles for Chapter_09.ENGlish

Hello and welcome to this chapter, so in this chapter we are gonna finalize the model with the textures and baking details onto normal maps and doing some variation to the body a little bit.

So we're almost there with the model, this is really the final step and then the whole model is done with the textures and then we can move on to rigging.

So it's getting pretty exciting here.

So in terms of the body, there are kind of two goals right now.

We want to experiment a little bit with the ambient occlusion like we did on the helmet and just define some crevices and these are things that can help emphasize some of the muscle tones when the character is further away.

That can be quite useful and then we want to be able to bake the actual muscle definition onto the lower res model which means we need to start reconstructing the body.

And we also need to do the same thing for the skull actually as it also has a multi-res modifier here.

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The skull giving it its own normal map and all this stuff is a little bit overkill potentially because it's just this bit so I might cut this one out and just leave it like a little bit higher resolution here because it is quite high resolution.

But if I brought it down to this lowest level here then it's still fairly usable.

But that's up to you.

I think I could bring it up to this level actually.

I would be okay with that.

It's a bit too much for sure but it's just so I have a little bit of that definition.

Oh and actually the metalness needs to change for this one.

I did not get around to doing that.

But the focus right now is the body and getting the detail extracted and stuff.

So I'm going to isolate the body for now.

And then the first thing is just I'm going to look at the texture once again.

For the body right now and the texture work we only have a setup for the base color.

We don't really have a roughness one and we could do one for the tattoo.

That would be a little bit interesting.

But if we just take the body here, look at it and then say what we actually want to happen.

Then maybe the tattoo could be a little bit less rough than the rest.

So we could do this thing where we modify the color.

Plot the color in again here.

Oh the tattoo could be more rough than the skin.

That's what I meant.

Giving it a little bit of a look or the other way around.

We can see what's going to work out for us.

So I plug this into the roughness.

Then we get quite shiny here.

I'm going to bring this up to the middle.

Maybe even further.

I mean that's almost the max shine that we would want here for something like this.

And then maybe we even want to reverse these two so that it becomes the other way around.

So this is what we kind of have to play with here.

Let's see.

Let's see here.

So we could bring that in a little bit.

If we wanted to.

Something like that.

Feels pretty good.

And then the tattoo here.

How much do we actually...

Do we want that to be more shiny or...

What are we looking for here?

It is cool that it has a different quality for sure.

It almost makes it feel a bit more like paint.

But that's maybe not a bad thing.

You know I think I actually kind of like that.

Just this kind of more matte finish.

It gives a good contrast to the shiny helmet.

Yeah okay let's do that.

What I want to do is I want to emphasize some of these crevices with an ambient occlusion node.

And you don't need this but it can be helpful.

It's kind of like artificial ambient occlusion because the lighting would provide it.

But in game engines sometimes you don't have it.

So baking in a fake one can be a lifesaver sometimes.

Okay let's get a ramp node here and just see what we get.

And we are getting it certain places here.

But I want to emphasize this a lot more I think.

And then we're getting it around certain crevices.

Like that.

We could change the falloff also.

Maybe we get something a bit more interesting.

Actually linear seems to be doing pretty well.

So it's something along those lines here.

And we're getting a lot of ambient occlusion from the clothing around it and stuff.

Which maybe we just want inside only.

Only local I mean.

So it's only the body that's affecting it.

Like this kind of.

And that together with the color node can create some nice color variations.

We can introduce some slight darks or reds here.

So we're going to put it here.

Create a mix node.

Set that to color.

And then plug the color into this one here.

Plug the ambient occlusion into the factor.

And then this goes into the base color.

And then we're going to get some white edges here.

Oh actually it needs to be the.

No that's the other way around.

Exactly like this.

And then set this to multiply.

And then we're getting.

So now it needs to be the other way around.

Okay that's.

No.

No okay.

It was just.

It's supposed to make it darker.

But it really isn't.

So it's because.

Right.

It's because it needs to be like this.

There we go.

Like that.

And then.

We get those darker.

Hues there.

So you can see without.

And then with.

It's just giving it a little bit of definition.

Making things poke out.

Let's see if we give it some.

Kind of slightly reddish.

Tones.

Slightly reddish tones there.

Bring that down there.

Let's see we got that here.

Then you can figure out the fall off that you want.

You probably want to check cycles also because cycles going to make it look a little bit different.

And that's the one we're using it for for baking.

Actually that's pretty close approximation there.

And it just makes stuff pop for from a bit further away.

You can see it here with.

Without.

Without there.

And then.

With here.

So just seeing it together here now.

When it's all.

Together what does it look like.

Oh it's just waiting for it here.

There we go.

Getting some.

Crevice details.

Yeah that's exactly what I want.

And here we have it without.

Just giving it a little bit of punch.

In certain areas.

That's what I was looking for.

Very good.

Nice.

So we got that as well.

So that means we could pick that out.

As is.

So I could take the body here.

Select.

The body base color.

Oh that will create a dependency loop actually.

So maybe it actually comes from this one here instead.

Like that.

And then yeah that's the way to do it.

A little bit more.

A little bit more there.

And then go over and bake the diffuse.

So diffuse here.

Adjust the color.

Select the body base color.

And bake.

I'm still seeing circular dependency.

But that's just because it's connected to the roughness.

Which is absolutely fine.

We're getting that in there.

Waiting for the texture baking.

And then once we have the texture baking ready.

Then we need to reconstruct the subdivisions for our character.

And here we have all of it with variations on top of it.

That's really good.

Then we need to get the roughness map out.

So we need to create a new image texture.

And we're going to call that one.

Let's see here.

We're going to call it body base.

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Body roughness.

And it's also going to be 2K.

Like that.

And now the base color falls in there.

So that's good.

And then we can set this to roughness.

And I can select that roughness map there.

So it's a non-color almost.

And then we bake it.

So I'm going to bake it.

Select the body.

And then bake it.

And then we can bake this one now.

And then we have the two maps we need.

And we don't need a metalness map for the character.

Because it will just be set to zero basically.

If you had any kind of metal stitches or some kind of metal component of your character.

Then you would have a map for that.

And here we have the roughness map.

And then we can plug that one in.

And that becomes the full character with the full texture maps there.

Nice.

Okay.

Now it's time to apply the detail to a lower resolution model.

Because right now our model looks like this.

In order to do this, we need to reconstruct some subdivisions.

So we are going to click on model.

And go to multi-resolution.

And then we are going to start unsubdividing it.

And I need to unsubdivide it four times.

To get back to the original subdivision level we had in the way beginning.

When we first made our model.

So this is kind of what we've been building our way towards.

Now having that lower resolution game ready model.

With nice normal maps and textures that all work seamlessly.

So I'm going to unsubdivide.

And this is going to take a lot of time.

So I'm just going to do it four times.

Okay.

And here we are.

And I've subdivided all the way down.

Or unsubdivided all the way down to the base.

And now our mesh looks like this.

Which is kind of our target resolution.

And keep in mind.

When you do this.

The vertex colors.

They die out.

Right.

So now if I go back to level four.

The vertex colors are going to be a much lower resolution.

Than they were before.

As I remember it.

Yeah.

I think we're getting a little bit of artifacts.

They might actually be surviving.

There might be a new thing.

Or they might be broken.

I can't really tell on this one.

But I think they will be broken.

So keep a copy of your model.

Yeah.

They're definitely broken.

Keep a copy of your high-res one.

If you want to keep those vertex colors around for another time.

So I'm going to save this one as a new file.

To not override the changes that I just made.

But now I have re-established the multi-res.

With the lowest one.

And then what needs to happen.

Is that I need to bake the different kinds of maps.

That I need.

And what I'm going to be baking.

Is a normal map.

And then probably also a displacement map.

And the displacement map is just if you want to use it.

In some other context.

And that can also be useful.

But it's the same process basically.

But the normal map is the one we're going to be using.

For the final character.

Okay.

Very cool.

So I'm going to go all the way back to the shading tab here.

And then we need to create some new nodes.

We need to create another texture node.

And the new texture node we're creating.

Is the normal map node.

I also need to just save this one out here.

Save.

Image save.

Add body roughness.

There we go.

And that's set correctly there.

Then we're going to create a new image texture.

Image texture node here.

And then a new texture on that node.

And we're going to call that body normal.

Normal like that.

And we're going to say okay.

That's also going to be 2K.

Which will be enough detail for this one.

So here we have the body normal.

That's the one we want to get the detail onto.

And the really cool thing about the multi-res modifier.

Is that it already works with the baking and everything set up.

It's built into it.

And that's why you have this little tab over here.

Under render.

Bake.

And then under the bake button.

There's a tab that says bake from multi-res.

And you can see it's already set to normals.

Right.

And that's just going to take the highest subdivision level.

And bake it to the lowest subdivision level.

As far as I remember.

So we're just going to test that out here.

Selecting my node.

Hitting bake.

And then letting that do its job.

And then we essentially get nothing.

Because I think we have to go back to the lowest one.

That's how it works.

So we go to the lowest one.

And then we hit bake from that one.

Let's see here.

I'm going to grab that one and then we hit bake.

Let's try that.

Okay.

And then we get.

Then we get some stuff.

Right.

So you have to be on the lowest subdivision level.

And then bake down.

And this is the normal map of all the details.

Just instant from the multi-res modifier.

Super great.

And this one we can use in our normal map setup here.

So we go over here.

And then we find it over here.

So we can save it.

Party normal.

Image.

Save as.

Party normal.

There we go.

And then this one is now saved.

And then we can set it to non-color.

Which is very important for it to behave properly.

Then you can see the color changes there.

And then we're going to get a normal map node.

I'm going to plug that into the tangent space.

And normal.

And then we get all the detail back.

As if though we had lost nothing.

Isn't that incredible?

Look how much detail here.

Even though the mesh looks like that.

That is just awesome.

I just love normal maps.

It's such an awesome technique.

And it works so seamlessly with the multi-res here.

And we just get perfect detailing back from everything.

And if I unhide all the assets.

It's like nothing changed.

And we still have the multi-res.

So we can go all the way up to 4.

As it was before.

And then it will end up getting this kind of double effect.

Because the normal map is on.

But then you can turn off the normal map here.

Set it to 0.

And then we get the normal one.

But they look so similar.

The normal map and the full-res sculpt.

And that's kind of the idea.

So I'm going to bring that back.

Bring these ones down to the lowest level.

And that is your model essentially.

We can also create a displacement map.

If you need that for something else.

So I'll just create a new image texture here.

I'll take this one.

Duplicate it.

Remove the texture here.

Save it there.

And then call it body displacement.

And then getting it in there.

Then bake from multi-res.

I have it there on the lowest one.

And then the render settings.

Select that one and hit bake.

And then I get that one.

Selecting it over here.

Image. Save as.

Body displacement.

And then set it to non-color.

Get a displacement node.

Like that.

Put it to the height here.

And then we can plug that one in here.

And actually that's going to work as a normal map right now.

As a bump map basically.

And you can see it's also very similar to the normals.

But the normals will look just a little bit better.

Take the normals off here.

Oh actually.

It's not working so nicely.

And it's probably something to do with the strength here.

But that's actually pretty interesting.

Let's see if we just.

Yeah so you have to decrease this one a little bit.

So it's not quite as strong.

Then you can see you also get the detailing back a little bit.

But it's not going to work as nicely as the normal map.

The normal map is definitely a lot nicer.

So yeah.

But just in case you need a displacement map for some purpose.

That's how you do it.

Awesome.

And that's our character there.

Then we just need to finish up the skull here.

And I think the way I'm going to do it is just applying this one there.

Then I get that one.

And then the problem for this one was that it was set to be metallic.

And that's not what we wanted.

So we're going to go into metalness.

Go into here and just set the color.

I think I was being cheated because it looked white.

So I was like all right that's white because it's a skull.

But no.

That's not how it's supposed to look.

That was not the idea.

Awesome.

And then I think that basically does it.

Awesome.

We've got this guy here.

Got that thing there.

And then we got our full.

It's amazing how it kind of jumps from this simple of a model because of all the local vertex colors.

And then it suddenly is like it gets all this extra detail even though the wireframe is exactly the same.

It's quite magic that feeling.

And I think I can take this one and then actually combine it with the sword now.

So they become one unified thing.

And we could also take a bunch of these assets and combine them if we wanted to.

That could make some things a little bit easier.

Let's see here.

If we take these ones.

Combine these.

Then we get that going on.

Set it to auto smooth.

Take the helmet and this one and combine them.

Set it to auto smooth.

Or just smooth.

Auto smooth.

It's kind of like this one doesn't need it so.

Maybe this one because that's shade smooth.

Oh it can't.

If one is set to.

Okay.

Let's see if we go to normals.

And just adjust this a little bit.

Then it's only the sharpest of edges that kind of gets it.

That's a good question actually what should be.

And then it also gets it here.

On the cloth there.

Maybe that's not really what I want.

Set it to 45.

That feels pretty good.

So that all becomes one.

That's good.

The sandals are there.

This thing can join that one.

Sandals are on their own.

I mean the whole item set could you know become.

It's own asset like all of this could be combined for simplicity's sake.

But I think it's also nice to have some divisions sometimes.

The sword for sure should be its own object.

And this one then you can take this one off.

Put on a different helmet.

You can take this off instead of the belt.

That looks kind of weird.

You can take the shoes off.

So there's some stuff to exchange if you need it to.

Very, very, very nice.

And this essentially marks the end for making the model itself.

All this stuff has now been completed.

The texturing.

The different texture sheets.

The modeling.

The setup with the resolution here.

And the multi-res.

We're just keeping that on.

We don't need it right now.

But also it's not in the way.

So we can just keep it here.

And that means we can now move on to doing the rigging of the model.

So we'll start with that in the next chapter.