All language subtitles for 07-Balancing our ivy material

Okay.

So what I want to cover in this chapter is I just want to do some

balancing basic tee.

So I want to balance out my material and I just want to make sure here

there is like this little bug going on.

It looks really strange.

I think it has to do with the subsurface scattering that you can see

over here.

But yes, there's basically a few things that I want to cover.

One thing that I have had a look at and I feel a little bit less

confident about is that we are exporting this using custom Atlas that

has like

the variations in it.

I think the bad side of it is not worth the good side of it.

So what I mean right now is that we have over here like these extra

atlases.

However, they are way less refined and we don't have the ability to

use the roughness and we also don't have the ability to use the

translucency this way.

So I think, what I want to do is I had to just want to go ahead.

And use our default.

So if we go ahead and create a new texture folder that will just call

Ivy underscore leaves over here.

And so I still want to keep like the old one in here.

Then what I'm going to do is I'm just going to go into my textures

text.com IV, and I'm basically just going to import these for over

here.

So let's go ahead and import these double check.

I think I need to

Flip the yeah, I need to flip the green Channel over here like that.

So that is also done.

That's fine.

Now.

What I'm going to do is I'm just going to go ahead and I'm going to

see first of all grab your translucency over here.

And I guess I think we will make the system a little bit different.

What we're going to probably do now is we are going to first multiply

our translucency that we have just added and you can right, click

convert a parameter.

Subsurface, that's what I will call it.

So it has different names depending on which program you use and then

we multiply it.

So we multiply the subsurface with the color so that we can slightly

change the color around and then we can control the strength of it.

So I think that is a little bit better.

I'm going to also just by default.

Apply.

These Texas, we still needed later on, do it over here.

And the reason that I'm doing that is because right now, we are going

to use a custom offer.

So I just want to grab this off over here and I want to use this into

my opacity.

I think you have right, click click pin.

This is the mass.

So yeah, we need to be in the opacity mask.

So that's fine.

Yeah, that's already starting to look quite a bit better.

So we got those all done and then yes, we do have a half this but our

roughness is fine for now.

Maybe later on.

What we can do is we can just throw on like a quick crunch map to give

it like some very slight variation.

So we do that.

Then there is one thing that we do need to do and that is that we need

to export this and then yes, we

I need to set it up again inside of Maya, but we just want to export

this to game.

And I want to export this with the atlas set To None, which basically

means that it will not try to create an atlas.

So then we can just go ahead and press.

Ok.

And that should also fix like, ruv stuff that we had to fix later on

in here.

So, for now, you know what, I'm just going to delete that.

I'm not too worried about the scaling and everything because we are so

early on in the project.

So I don't need to match it up.

Exactly.

So what I'm going to do is I'm going to go

Why do I have so many Maps?

I'm going to delete all of those, but basically,

It changed again.

Now it now.

Oh, no.

Wait, I'm looking at it from like the different direction.

Let's go ahead and rotate this and then I'm just going to go ahead and

scale this down again.

Move this down over here.

Like this.

I'm just going to quickly check.

I need to flip it around again.

That is really strange.

I wonder if that's a bug because that it never used to do this.

But again, let's just select all of these and then maybe all shift

and, like, deselect these bits, and I need to flip it on the

Yeah, actually I even need to move it who I never like moving my

you've he's like this.

It's always risky to do that kind of stuff.

But as long as they fit the to be fine, okay.

So those are now into place that is fine.

And what I'm going to do now is I can just go ahead and do like save

us, save our scene and do a lie, export over here and that should

pretty much fix everything.

So if we now go back into and real over here.

Right-click re-import.

and then, just do a

Hmm, different Leaf materials.

Oh, the reason it's doing different.

Leaf materials is because it's still asking us to add four variations,

which actually you know, what?

That could be in our advantage.

I don't know why it's important like this because we still have like

the original scaling.

But okay, I guess that's what I want to do.

Is I want to set my scaling.

This that is weird.

So let's do like a scaling of five.

There you go.

Really didn't make it that much bigger.

I must have made it way bigger than I really expected or then I

noticed.

But anyway, this is pretty cool.

So what we can do with this is we can simply out like a few extra

materials.

So right now, I just want to see which one is our bark.

Okay, so this one is a box.

So if I just go ahead and in my materials, I like to make this

smaller.

So this one is to balk.

And then for, now what I will do is I will just make all of them, the

same ivy.

Over here.

We even have four variations.

That's interesting.

So I made those Ivy pieces over there.

It seems that it still does not properly.

Do our UVs.

Which is interesting because these are not decals know.

These are you've he's like the mask is working.

Oh, I know why I need to open this up and I need to replace them in

here.

Sorry about that.

I'm quite forgetful at times.

So I just need to replace my base color.

Am I normal?

There we go.

Okay.

So that's already looking better.

I'm just going to quickly check in.

My rendering received Eagles is turned off.

So it still has like a little bit of like a, I don't know what it is.

It's almost like a shadow problems and I have a feeling or like, the

suspicion that it comes from our normal map.

Yeah, I feel like that that is the case.

Let's just not risk it and let's actually get rid of an old map

strength because I normally do not use it on the foliage.

I normally only use that on like bricks and everything.

So,

Okay, so it's not that bad.

So on that you can see that here.

We are already starting to get like here.

You can see it better.

We are starting to get like a small improvements.

So this is just part of the deal.

It's just bouncing out.

So I'm going to have my two materials on here.

And I'm going to go in here and I'm going to basically just see let's

first of all, make this one a bit darker.

Like that.

And now if we go in here, let's have a look.

So, first of all, let's set our subsurface scattering if I set you to

zero.

Okay, so it's definitely you have to do 0.1 the subsurface scattering.

Is adding a funky effect to it.

Which I don't really toss to be honest.

Here, you cannot see that much here.

But here you can definitely see it.

See so I'm not going.

I'm going to have this quite low just to avoid it for now.

But I do want to have it later on.

So I wonder exactly where the problem is.

Well, it might not be a problem.

It might just be some kind of like a limitation.

The next thing that I want to do is so I want to go ahead and have

control of my color but I also want have control over these

situations.

So I'm going to go in here and after are multiplied with our color.

I'm going to add a set of ation note or a set of eight, not a

separate.

Desensitization notes, sorry.

Desaturation todas in here at a scalar parameter.

Remember s, click and called this.

Let's just do the set set this to 0 and plug this into a base color

was Zero gray.

Yes, 0 is gray and one is or minus one.

Is that it looks dollar.

I believe I think then I'll wait - one is that it becomes saturated

and plus 1 means that it looks more gay scale.

So we now have these.

So now let's do some balancing out.

Let's start with that color.

Let's make the color a little bit more, like a yellowish color, and

then just own it nicely down.

And then add some desaturation of like, zero points here, C.

And then if you see 0.3, maybe we can very quickly get like

interesting facts.

So I do want to go for a little bit too colorful.

So not this dull but also here this is quite a good one.

So we want to go for like maybe a little bit colorful.

Maybe slightly darker green color.

So

Let's see.

Don't know if that's a here.

If I do darker green.

I don't know.

It also depends on your environment.

What looks best?

I think in this environment because it looks so peaceful.

It might actually be nice.

Yes, if we go for like a more slightly yellowish tone and have

everything like a little bit brighter.

So something like that's pretty good.

And then desaturation Co-op or to know 0.4.

0.35.

Let's do 0.35.

Okay, so we got that one also done.

That's pretty good actually.

Yeah, it's looking pretty good.

Even over a, of course.

It does not look logical in this place because we are going to have

like a unique one here.

But for example, over here might look a logical.

To have it hanging.

Sort of like in this location.

Like this.

Little bit more.

You see?

So you get like some quite interesting effects.

And if you go to like your camera, you can see like, oh yeah here.

So we have like some IV and stuff like that.

I do have like lights over here, that are already compensating a

little bit but not too much yet.

So the subsurface color.

What it will do is it will basically whenever we have a light it will

let the light shine to on the other end and here we can see it like a

little bit.

What we have now when I place a light behind it.

Now what we can do is we can just play around with this a little bit

more.

So here are the sets to 1.

You can see that the light shines through really strongly but it never

really tends to look very good.

So if we and it looks surprisingly flat, I kind of expected it to be

stronger - one just in case.

No, don't worry.

It was just me trying something out 0.2.

0.3.

Maybe.

So serve look like over here.

Yes, is 0.3 looks pretty decent.

And now for the color we can go in here.

You can even like make it like a really strong color to get started

with here.

Let's do like a bit of like a yellowish color like this and

You can also like increases strength.

So here, let's do like a slight yellowish color and then simply tone

it down until it does not look as strong anymore.

So around it.

Now, these values look quite nice.

Something like this over here.

Yeah, you know, that's good work.

So we got those pieces.

Now, what I'm going to do is I'm going to quickly make them a little

bit darker because when we play around with our subs,

First averaging often becomes a little bit lighter.

So, you kind of want to compensate by just hitting your color?

Bit darker again here.

See, and now you can really see the effect over here where the sun is

hitting.

You can see that it shines through, and here, you can see that this is

in Shadow and it just like quite a bit softer Maybach.

I also want to once again should mess around with it a bit more.

Yeah, it's I don't want to have this as notes about.

I feel like that would not look very nice.

I know that in our reference, it is quite bright, but in our reference

we have way more leaves basically because they are sitting on a wall

which kind of hides it.

So, I'm just going to kind like

Play house with this stuff and set my roughness the 0.8.

So let's set it like a little bit duller and I think that that is

looking pretty good.

I think we got a pretty solid material right now, for our foliage just

like an easy material.

Doesn't need to be too difficult, but I quite like that.

That's also go into like a preview map.

Here in a preview map.

It is also pretty interesting.

What I'm going to do, just to close of this chapter because this was

just a balancing chapter here.

I'm going to make my lights a little bit.

More orange and maybe I'll make it like a little bit stronger over

here to like six or seven.

And what I'm going to do is I'm going to see you Skylight I kind of

want to do.

I have like some hti's hais are basically just like some Cube Maps

over here.

I don't know if I used one for like the very beginning.

Nah, well, it's not that important.

It would have just been nice.

What I can do is I can go to create visual effects and out a post

process volume.

And in here, I can just do like a bunch of stuff like playing around

with my Bloom amount, which, in this case doesn't do much setting my

exposure.

I like the always set my exposure to Zero by zero.

And, by the way, in order to see the effect, we do need to go all the

way down to our post-process, volume settings, and turn it on.

Now, you can see that this is very bright.

But then if you play hard to do exposure, you see.

We can set this to like - 20.

That's minus 15.

There we go.

See.

And then we can just like mess around with a bloom a little bit like

this.

And we got also do some color grading, which is nice.

So, here's some Vic netting on top of it.

Let's go down to the misc.

And then for our color grading, maybe I can actually use my color

grading that I used in the tunnel scene, just for the fun of it.

Vit.

It does look interesting in like a scene like this because this is a

good color grading that I use for my tunnel seen see the difference.

So I pushed like the green a little bit more and that's why over here.

It looks a little bit different.

Let's set this 2.6 over here.

And what I'm also going to do is let's go ahead and go into our

global.

Gamma.

It's like a little bit of lichen, yellowish tint in here.

And then what I also want to do is I want to go into my Shadows at my

gamma and I want to give this like a little bit of like a bluish tint

over here.

I could have just copied over my post effects of by the way, from my

other scene, but they sometimes it's fun to just mess around with

these things.

And in my Lumen, I'm just going to set my Lumen quality of my

Reflections and my GI.

Nice to do.

There we go.

Okay, so that's like a nice preview scene for us to get started with.

So he can also see it in action, where, oh, sorry.

Let's set up pivot Points to be world's oriented.

Here.

I can like play.

How to this a little bit more and then you can also see how it would

look, if you, for example, repeat it, but don't forget often.

You would not always repeat like this.

Sometimes you just move it like an intersect.

It a little bit and then maybe like move it down a bit more.

Just that from a distance.

It will look totally fine.

So, this likewise a nice one to have like a generic piece.

And what we're going to do in the next chapter is we are going to

create another generic piece on top of this.

And then what I want to do is I want to show you how to actually

create some unique specific pieces.

So that are really designed specifically for your environment.

But as you can see, this is a pretty solid start already.

I'm going to have these and I'm going to do one last thing.

Go to create a quick, rectangular light.

Over here.

Going to rotate it to the tar.

I'm going to set my source width and height and maybe my bond or

angle.

Also a little bit lower set.

My color to be like a nice, nice orange color, and maybe art like a

little bit of like an increase in my light and I don't know, this

often just gives me like n a little bit of Shadow response and also

just in general, it will give me

Some better Lighting in this specific effect.

Oh and set it to movable.

Let's not forget that here.

Let's set it to like a small rotation.

Like this and maybe let's tone it down a little bit more.

212.

And now what I can also see is I can also play around my roughness

response.

So that's the last thing.

I know I will say that this is a lasting very often in these kind of

tutorials because it is just a bunch of bouncing to get a perfect.

Sometimes.

I literally play with this for like an hour or two just to get it.

Absolutely perfect, but I cannot do that right now.

So 0.4.

It does have something when this little bit shiny 0.5, Maybe.

0.5 to, let's just do 0.5.

0.5 should be fine.

There we go.

So that looks quite interesting, in test, like a little bit of like a

shine to it, which I quite like perfect.

Okay, let's go ahead and save our scene and continue to the next

chapter.