Original subtitles

Okay, let's start the project and before starting anything inside Clubs and Painter, after setting

display option in display setting, we need to bake Mesh Maps.

What is the Mesh Maps?

If I want to give you one single sentence description, it's the baking process.

It's a saving information from a 3D model to the texture file, okay?

This is very simple.

How Substance Painter can define for itself this is the top part of the model or this

is the edge or even we have detail in here or not.

With the Mesh Maps and baking process, we can save all the information related to the 3D

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we are going to use inside Substance Painter, we can save it in a texture file and

that texture file is MeshMap. Okay, so this is a very simple definition of MeshMap.

So let's go to the baking mode. Okay, this is the new mode that we have. There is

some new window here and we are going to take over of the windows very fast and

very simple and in each project when we need to define, for example, the baking

technique or something like that, we are going to explain those techniques over

there. But for now, for starting this project, we don't need anything, just

simple setting and default setting inside Substance Painter. And in the most

project, when you are in a beginner level, this is the final setting that you need.

Okay, so we have the texture set list, we know that window, and we have MeshMap

Baker's window. In this list, we are going to select the MeshMap that we want to have. Okay,

so the default is okay for us, and we just need to select Bent Normals. It's optional if you have

some problem during the baking, you can come over here and turn off Bent Normal, but please be

enabled that, because it's going to help us to activate an option inside Shader that it could

help us to have better display inside Substance Painter. So in this MeshMap Baker's, we just need

to set some setting in Common Settings. Okay, so whenever you select something inside MeshMap Baker's,

you can see the setting here, it's changed. Okay, so the Common Setting, we can define the output size,

okay, for example, 1k.

we are going to increase it to 2k or 4k, it depends on the final texture export that we want,

and we are going to export the texture from this project in 4k version. So it's better to have

the maximum size of export in here in output size, okay. So leave this option as default,

and if you have a high poly version, we are going to explain that in the future,

don't worry about that, and let's explain you something here. When you have a 3d model with

very, very, very high detail and dense topology, I mean, for example, maybe you have some model

with 20 millions vertices, okay, you will not be able to use that model inside, for example,

in a game engine, okay. So you need to create a low poly

and lighter version in the vertices amount, okay? But in this way you are going to lose every detail

on the model. So there is one magical step that you can transfer all the data from that high

poly version to the lighter version of that model. So in this way we are going to bake the high poly

version into low poly version and transfer all the data from the model to the material, okay?

And we are going to do that in the projects but for here we just need to bake the data from

low poly version as we can see to the low poly version into the texture, okay? So in this scenario

we need to enable use low poly mesh as high poly mesh and if you don't enable this and don't upload

anything here in the high poly definition section the Substance Painter as a default option

it's going to enable that and consider the low poly mesh as a high poly mesh that's it and in

this scenario when we have just one single object or model we don't need to define the cage and we

are going to explain the cage and all the data related to the bake professional bake in Substance

Painter in that project that we are going to bake okay so we need to change the anti-aliasing

setting to 64 okay and that's it we just need to select the common setting

change output size to 4k or 2k and change anti-aliasing to 64 and just enable bench normal

and now we can just press on bake selected texture and boom everything is bake and we can see what's

happening the navigation in this window is like

navigation in 3D viewport of the Substance Painter. So let's wait and after baking we are going to

continue our way. Okay now all the mesh maps are baked and we can continue our process in

painting mode. So for checking the mesh maps on the model and we can even use the 2D view

for checking this part we can press B on the keyboard or just use this list and start

in mesh maps section. So this is the normal. The normal channel as I told you before in a field

layer it's like a playground for creating details and play with the details but in a fake site.

Okay we are not adding real geometry inside this channel. We just play with the light

and the direction of the light reflect.

and bounces to create illusion, to create fake detail. Okay, so when you

bake high poly model to the low poly model and transfer all the data from high poly geometry

model to the low poly, actually you translate the data from the model to the normal channel.

So it's a very important channel when we are creating or transferring data and detail.

That's it. So this is the normal channel and because we have just single model and this

model it doesn't have any high poly detail on it, so the channel itself is just pure purple.

Okay, and let's go to the next one, the world space normal. It's going to calculate the position

of the model in the world space. So, in this way...

Substance Painter can understand what is the coordinate of the model in the world of the 3D.

So, let's go for the next one. The ID mask or ID color. It's very useful for creating

and using in a complex geometry because with this ID we can create mask very fast, very easy,

but in this project we don't need that. So, we can skip this part. Okay, now let's talk about

the ambient occlusion. Ambient occlusion in mesh maps can give us the detail on the edges and in

the concave area and it's very important map during when we are texturing in Substance Painter

and when we are baking the details or the mesh maps because with ambient occlusion

we can pop up our detail and make it the realistic one.

Okay, so whenever you came over to the Ambient Occlusion and you see the black area, don't worry, it's not a bug or issue

because Ambient Occlusion is actually a soft shadow channel and it's going to be calculated similar to overcast lighting from the sky on a white surface.

So this is the reason that we have shadow in the surface. So it's going to be an issue when you see, for example, the shadow in here

and there is no intersection with other subject or other object in the scene.

Okay, so in this way you can figure out there is something wrong inside the model or inside the UV.

But in here, everything is okay. Now we can continue to the next channel.

Okay, let's go for the curvature. Curvature is a map.

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that it's going to define for Substance Painter,

okay, this area is edge or this area is surface.

So, with this map we can define the edge of the model.

Let's go for the next one, the position. It's very important

map and channel in the mesh maps because with this

position we can understand and actually the Substance Painter

can understand what is the front, back, top,

left and the sides of the model. So, we can use it

in the masking and texture generation. Okay, so

the next one is thickness. Thickness shows the thickness of the 3d model.

Actually, when you see the white surface in the thickness it

means you have a lot of thickness inside your

model and when you see the dark area in the

thickness

you can understand there is some close surface together and the thickness is less than the white

surface. So let's go for the next one height is a displacement and because we don't have

any high poly model we can skip this channel and the bent normal is like if you combine the ambient

occlusion and the normal channel together you will get bent normal and in this way we can increase

the quality of the visual in the viewport with the bent normal option in the shader setting and

we are going to enable it right now. So this is all the data that we need to know about the

mesh maps to start our process. Let's enable the bent normal in the shader setting okay and as you

can see the light calculation it's very very better compared to disabled version okay. So let's go for

creating the first layer and starting our process.

Okay, now I start with the first field layer. I'm going to create a field layer and call it

base layer and in this layer I'm going to use a dark gray, almost dark gray, in a base color

and I'm going to bring up the metallic to one. Okay, and let's decrease the roughness

and now let's talk about a new concept inside Substance Painter. So in the field layer we can

right click and we can use, for example, filter, level, field layer, paint layer or generator.

So we can add some sub layer to the main layer that we have in the selection. Okay,

I'm going to use a filter for this layer. So when you add something

to the layer, it's going to affect on just this layer. It means when you use some filter

in here and load some filter, the effect is for the base layer. And the order of the layers section

it's like from down to top. And exactly we have the same order here in the sub- layer. It means

when you have some sub-layer, the top layer is the high priority for showing the viewport and

showing the data. So this is the layer order that we have in the layer section and sub-layers.

And now I have a filter for the base layer. Now we can load a filter in properties.

We can choose filter from this list.

or we can go to the asset library as you can see and we can go to the filter in here

and use whatever we want. For example, I can see these filter are related to the metallic

options and yeah for example matte finish brush linear is a good filter and let's use this one.

So I'm going to click and drag it in here. I can release it in the filter or I can use the search

and for example search linear and use it in this way or even I can remove the filter itself

and just click and drag the filter on layer icon here and as you can see it's automatically

create filter sub-layer and apply brush linear to the filter section. So let's close the asset library.

and we can see the effect is on the layer and we can control the filter should affect on which

channel. For example, I just need to have color but it's not affected on the color. Okay, so let's

go for the height. It's not affected for the height. Roughness? Yeah. Maybe. Metallic? No.

And normal. So the brush linear filter just affect on the normal channel and we can control

the effect of the filter when we go to the normal channel and we can play with the opacity

in the normal section. But each filter comes with several parameters. For example, in here

I have a brush intensity.

So it means if I decrease the value, it's going to give me a nice and clean result.

And we can play with the rotation. For example, let's rotate it 90 degrees like this. Okay, and

let's play with the scale. And that's it. But I want to keep the filter on this section, just this

section. So how we can do that? We can create another fill layer and I'm going to call it brush

linear. And just move this filter to the brush linear layer and let's turn up all the layers.

Okay, and now I'm going to add a black mask.

So whenever we want to control something, we need to use mask. Okay, so let's add black mask.

That's it. And now I'm going to use paint layer. And with the paint layer, I can go to the

polygon field and use UV chunk and select this area. Okay, we can go to the mask.

And boom, everything is okay.

So we are ready to go and continue our process. Let's go back to the base color channel and let's

go back to the base layer. And I'm going to increase the roughness value and boom, this is better.

Okay, but I want to use another filter in the base layer. For example, I'm going to add a filter

and load another matte finish filter. For example, we can use

matte finish rough. Yeah, it gives us a very perfect result for the metal. And let's play

with the scale grunge, brush intensity, brush warping, okay, scale, and we can play with the

random seed, as you can see. And let's keep the normal channel, just normal channel. Okay,

that's enough. But we have matte finish rough for the base layer and we have brush linear

for the brush linear layer. But there is some mixing effect on this area.

What if I want just have brush linear inside this area? How we can provide this

kind of effect? We need to go to the normal channel and change the blending

mode from normal detail blending or normal map combine to the normal itself

and boom! There is no sign from the down layer. So in this way we can control

the data with the blending mode. Please do the task and be familiar with

the blending mode because we are going to explain each blending mode that we

are going to use and after a while you can understand the basic concept and

using of the blending mode. But when you study the blending mode itself and you

just increase your knowledge about that you can do so many creative things

inside Substance Painter and actually it's a common knowledge. It means if you learn

blending modes you can use it in Photoshop, in Substance Designer or any other program that

you are going to work on a shader, texture and this kind of stuff. So it's okay for now

and we just understand we have some filter and matte finish it's going to help us to create

some surface detail. Okay so we are going to use this kind of filter a lot inside Substance Painter

and we have so many filters here and we are going to use them. Don't worry. Okay so let's go back to

the base color channel and let's add some variation for the roughness. Okay so I'm going to create

roughness variation number one. I'm going to

recreate the effect of the water dripping and stain effect.

Okay, so let's add black mask and let's load a fill layer here.

So in the fill layer I'm going to use grayscale and just search leak.

Okay, now we can use for example this one, grunge leak large.

Okay, that's okay. Let's increase the tiling for example to three.

Okay, maybe we should increase the tiling to something like six.

Okay, and we can play with the contrast and balance.

And we can change the projection for example to triplanar and decrease the tiling.

Okay, and we can place the box and fix the tiling.

the map where we want. But I'm okay with the UV projection and let's check another grunge.

Okay, for example grunge is small. Let's change the rotation to 90. Okay, it's good. It's very good.

But let's change the rotation to 270. And yeah, it's perfect right now. The tiling could be on two,

for example. Yeah, that's it. Let's go back to the layer itself. I'm going to keep color,

roughness. That's it. For the color, maybe white amount is good for this layer. And for the roughness,

let's increase the value, for example, to 75. Now we can see the effect.

But it's too strong. Please remember that for surface detail, we need to create so many details.

And we just, we must or we should just pop up the main detail. And if we want to have so many

strong details on the surface, our material is too complex for reading. And it's not good

in the visual way. We have complex material with complex data. And the user, when it sees

the material and the surface, he or she cannot understand what's happening. But when you control

the surface detail and keep all of them very low, very slightly, and just pop up one or two details

to tell a story...

In this way you can convey your story to the viewer or anyone who sees your work and material.

So, let's go back to the fill layer.

Now we have a balance and we can play with the balance.

Okay, yeah, it's so perfect.

And now I can play with the opacity for the base color.

Let's decrease them to, for example, 10.

Let's go back to the layer.

Let's play with the roughness too.

I think 0.5 is good.

Yeah.

Okay, I'm going to add another roughness variation.

And let's add a black mask.

And again, I'm going to add a fill layer in the mask.

And let's load another fill layer.

uh like grunge stains leaky okay and let's bring up the tiling to five for example

like this or maybe it's too much for this one let's try three yeah i think it's very better

okay let's go back to the layer itself i'm going to keep color and roughness and for the roughness

we can increase it to something like 0.7 and give a dark gray color

so it's good but i want to create some variation so i'm going to add a paint layer here

and change the blending mode to subtract it means when we paint any white

value inside this paint layer with the paint tool we can remove the grunge data because we are going

to subtract okay so let's go back to the brush and let's test yeah it's work it's work and we can do

that okay so we can go to the mask by holding alt and click on the mask we can go to the mask mode

for this layer and let's go to the library and search dirt and i'm going to use dirt brush

and let's go here and remove some detail from the mask okay we can increase the brush size

and remove this detail we can go back to the material mode with pressing m on the keyboard

I think the lighting condition, it's not good.

Let's go and change it.

I'm going to the display setting, environment map.

Let's load, for example, this one.

Yeah, it's better.

Let's load another one.

No, it's not good.

I think it's much better.

Let's test this one.

Yeah, I think this one is better.

We can see the detail on the surface.

Let's keep that and we can bring down the opacity.

Let's remove some detail from the surface like this,

to create a unique detail and shape for our layer.

That's enough. I'm okay with that.

And let's create a fill layer, another fill layer, and I'm going to call it Color

Variation. The purpose of the color variation is to create some variation in the color,

but we can use other data in other channels. But the main point is to create variation in the color.

We can continue our process in the next video, and see you in the next video.