Original subtitles

Okay, now it's time to move to baking process. Baking meshmaps, it's very

important, okay, and this is the essential when you start your work

inside Substance Painter. It's not related to low poly, high poly, mid poly or even

transfer data from high poly version to low poly version. It's not

related to this kind of stuff. It's essential and it's related to how

Substance Painter works and understands data. So let me give you an example and

after that we can understand what is the meshmaps. Okay, so for example you're a

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native speaker in Spanish and you want to work

in an English environment and it's necessary to speak English for you,

somehow it's not necessary when you are working alone or when your work doesn't need to speak

with anyone else. You don't need to speak English, right? So when you want to interact with others

and the speaking skills is needed, it's important to speak in English because in Spanish nobody

understands what you say, okay? So in this situation, when you create a 3D model inside

your 3ds Max, Blender or any software that you use for creating 3D models,

you are going to create

that thing in 3D space environment.

So you have 3D space, X, Y, Z and all that stuff.

But when you want to work inside Substance Painter

you are going to work in 2D space.

There is no 3D space anymore.

Yes, you can see the 3D space inside Substance Painter

but it's not actually what are you doing inside Substance Painter.

3D modeling is like your native language

and 2D space in Substance Painter is like English environment

that you are going to work inside that.

So you can work inside Substance Painter without banking.

The banking process is like speaking English.

So when you're working in Substance Painter and you don't want to bank the mesh maps,

it's like your work is not related to others.

There is no interaction between your environment, your language, and your work.

Okay, so for example, I can come here in Substance Painter, create a paints layer,

and start painting. Or even I can add a fill layer here like this,

change the color to something like red, and go to the paints layer and start painting.

And yeah, I have something, right?

Did I bank any mesh maps here? No.

Okay, so why mesh maps or banking process is so important?

I can paint on the model. There is no need to bake mesh maps.

When you want to use all the features, all the tools inside Substance Painter,

which is a texturing tool, software, and it works in 2D space, you need a translation.

Okay, so it's like you thinking in Spanish, you speaking in Spanish, but the other part,

your colleague, doesn't understand you. So you need to translate your word to him or her.

Okay, so in here, when you want to interact with Substance Painter, use all the tools,

you need to translate your 3D model to 2D space data. Okay, so how we are going to do that?

Okay.

Let me explain you something else. We have a smart material, right, and it's created like

some layers and relation between them. So, when you start your working inside Substance Painter

and you want to use bronze armor, okay, and you apply this material to your model,

but it's not like bronze armor, right, it's like a clean surface without any detail on the edge and

this stuff, okay. So, what's happening here? These layers, this structure, this smart material,

it couldn't understand your mesh, your 3D model, where is the edge, where is the concave, where is the

convex.

Which part of this model is top side, down side, left, right, or any other information.

So how we can translate this data from our 3D model to something like understandable

for Substance Painter, we call this mesh maps.

So it's related to the mesh, but it's map, okay?

So how we can bake this model?

We are going to this section, as you can see, okay, let me bring some attention here.

So this is a separate window, separate room, okay, and we have so many options here.

I'm going to explain you the most of them, the usual one.

After that we can continue our work because with the baking process we can

meet some interesting point during the texturing. Okay, I'm going to explain you, don't worry.

So, we have the mesh, we have a special viewport here, and we have some button, window, and etc.

So, without touching anything I just click on this blue button, bake selected textures.

So, let's bake and something happening here right now and it's finished. So, let's go back

to the paint and now as you can see these layers, this material, bronze armor,

it can understand, okay, this is the edge.

So now I'm going to create some effect on that edge.

So this is the concept behind the mesh maps, okay.

And now before going further inside Topzones Painter,

let me explain you something else inside the 3D modeling application like 3ds Max.

So let's go over there and we will come back here.

Okay, now as you can see, we have a very nice cube, right.

And this cube is like we have chamfer here, the surface, it's too smooth.

Everything is good and clean, right.

But there is a big problem here.

If I want to use this cube inside something like a game or a real-time engine

and we are seeing or something like this.

We have some limitation in front of our face. It's not a good idea to use this kind of model.

Why? Because as you can see we have around 19 000

triangle or polygon. Okay, so it's not logical to spend this amount of the polygon or vertices

or edges for just simple cube to have smooth surface or chamfer edges.

Right? It's not logical. So what we can do because in that scenario the best thing that we can use

it's like something like this 12 polygons. Nothing more.

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Okay, so how we can have this kind of object with 12 polygons, but with smooth edge,

we have some bevel and chamfer on the edge, and smooth surfaces. So how we can

do that? This is the magic of baking mesh maps. We can transfer the data from the high poly version

of the model. Okay, so we can transfer all the data from this model, like clean surface,

bevel edge, and etc. Because we have another example, but I'm not going to show you right now.

And

we can transfer all the data to the texture with mesh maps and we can continue our way

in texturing process depends on these mesh maps and we can create fake details

with fake direction in the light and other stuff in the technical part we don't we

don't care about that okay we just need to know we can do that with the baking we can transfer

all the data from high poly version to the low poly version and we can have this effect

with just 12 polygons

not 19 000 so

Let me show you something else. Okay, we have this model. We create this model

inside Zbrush. You can do it in Blender or anywhere else. But the main point here

is we can have all this data from this Hyper-V box. It's around I think 2

million. You can call it 2 million. On this model it's just only 12 polygons. Okay, so

we can have that. And it's magical actually. And this is the magic behind

the high quality game with high quality graphics. Okay, so we are going to

transfer all this data.

The first example is transfer this simple data to this box and after that we are going to explain

how to transfer data from this model to this model and be more familiar with baking process

inside Substance Painter. And to be honest, this process, I mean baking process, when you

create a clean one, because you will be faced with a lot of issues inside baking. Okay,

when you're done with baking process, you can see what a miracle and you can enjoy your magic.

That's enough, let's go for a starting process.

But before leaving this beautiful software to this Max, let me explain you something.

The first rule inside baking is matching.

Okay, so the low poly is here and the high poly is here.

And when you want to transfer the data from high to low, it's crucial, it's necessary.

And I think in 90% of the situation when you face a problem with your baking process,

it comes back to this step. You need to match the position and you need to have the coverage

between your low poly model and high poly model. It means when you have this situation and you are

going to export this model in this position in the 2D world, there is no successful baking process.

Because

we are going to explain the cage, but let me show you something here.

Okay, I'm going to give a blue material to this model.

So, when we are going to bake this high to low, we need to find out

what is the position that this vertex or this data need to go.

Okay, so when we have this, it's not understandable for software.

Okay, but what if we just simply make this.

Okay, we have the coverage.

That's it.

And you can see now the software can understand okay this is the data here and this is the low

pulley and this is the UV coordinate. Now I can transfer the data, the normal data,

the ambient occlusion data, and all the channels in the baking list to the UV of the low pulley

model in this coordinate from this high pulley version. Okay so the first step is you need to

match your high pulley and low pulley in the same position in the 3D modeling software and you need

this coverage. Okay so that's it. And what is the cage? Okay let me explain you the cage before going

out.

and go to the Substance Painter because it's very important.

Right? For understanding the cage and the matter of the cage, why it's

important, we need to understand how Substance

Painter or any other software is going to bake the data.

Okay so it's like issuing some rays from the surface

along the normal direction. Okay so it's like

creating some rays like this and

these rays, they are responsible for catching detail.

Okay? And bring back the data to the surface. So it's so simple.

I'm not going into the technical detail. I just

try to demonstrate this for you.

Okay, so the problem in here is like this ray is going to

to the infinite possibility, infinite range, infinite space. Okay, so there is no

thing here to stop them and the baking process is going to be continue forever.

Okay, so we need to set a limitation for that and this limitation it's cage.

So the cage is something like a region area that's going to set a limitation for the rays

that responsible for catching data. Okay, so what is the important thing?

About the cage, because we just, as an artist, we just need to take care of one parameter of the cage.

And that is the distance from the original surface of the low poly model, or the model

that we load inside Substance Painter. Okay, so what does it mean? Let me show you something.

So, we are going to have some special moment here. Okay, for example, this one.

I'm going to turn on the cage. Okay, so this is the cage, as you can see.

And let me increase the cage. So, it's like we are going to

issue the rays. Okay, we are going to create the rays and they are going to,

like this, catch the data. Okay, and this is the limitation here. When they reach

here, they come back to the surface and they are going to transfer the data that

they catched before to the UV or 2D space. Okay, I'm trying to give you some

technical aspect in simple word. So, if you don't understand what I'm saying,

it's okay, don't worry, because when we do this process in action, when you see

what's happening, you can understand. And that is the only thing that's important

here. You understand how to bake. It's not...

a big deal for you as an artist, as a person who is going to use Substance Painter for texturing

process, to know what's exactly behind the process of the baking and just showing you,

explaining you to have better understanding. Okay? So don't worry about this. Okay, we set

the limitation. The data, they are going to transfer to the 2D space, but there's a problem

here. Let me show you. This space or this area of the high poly, it's outside of the cage.

So there is no data from the rays that we create to catch the data and bring them to the 2D space.

So the data in here...

They are missing.

So I think you can understand what parameter is inside the cage.

It's important, right?

The distance.

Okay?

The distance from the surface.

So we need to understand if we increase the limitation or the cage further and cover all

the data from HiPoly version, we are good to go.

So these two steps, they are the most important thing in the baking process for an artist.

And when we have problem inside the baking process, 90% of the time.

all the issue inside the baking related to these two parameters. The cage and the match and the

coverage of the high poly and the low poly. So we are done in concept part. I explained you the

concept, right? So in next part, we are going to see what's happening inside the Substance Painter

and we are going to bake the data from the high poly versions

to the low poly version of the ZSKU. Okay, so let's go.