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Okay, let's go and adjust layers in order and in parameters to achieve the final look.

And here I'm going to start with the head pane.

I have the issue in the edge, so let's make some gradient in the edge.

I will do that with the bevel.

So let's have something like 0.05 and make the smoothing a little stronger.

And let's check it in the material mode.

Yeah, as you can see, everything is okay.

The result is so much better than before.

And that's it for the head pane, we don't have any special issue.

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So everything is okay.

And let's go back to the hat itself.

For the metal section, I think everything is okay.

We don't need to adjust any parameter.

But for the leather part,

I think the layer related to the control color,

yeah, it should be more slighter.

Maybe 50 in the opacity is good.

Okay, so that's it for the leather part.

And I'm going to use soft light on the blending mode

for the stitches.

Yeah, it's so much better to have something like this, okay?

And we can decrease the opacity amount to something like 80.

That's it.

And for these kind of stitches over here,

I can change the stitching type or class to double.

because in this way let's increase the texture size in the viewport to 4k because we are going

to use 4k in the render. Okay let's wait to compute the data in the background.

Okay so it's done it's a 4k result. Yeah the stitch is good but if we

need this texture at 2k level we should increase the size of the stitch because at this size

we cannot achieve the result that we want. Okay so let's increase the size to something like

four. Yeah as you can see it's so much better but maybe three is good though. Yeah

I think three is good. Let's reposition.

Stitch.

Okay. And let's copy and paste the brush properties for these paths too. Okay.

That's it. It's better. Right? Okay. And yeah, I'm going to turn off HSL. Okay. And let's

go here to path 4. I'm going to paste brush properties.

Okay, that's it.

Okay, that's fine.

For the past five, I'm going to paste brush here.

okay so it's okay let's increase the opacity yeah I think 100 is better when

the HSL is turned off so this is for leather I think it's okay and let's go

to the fabric this is the final part for the fabric maybe I need to change the

blending mode to soft light for the stitches yeah it's so much better it's

so much better and we need to add to punch to punch in here and in here okay

so let's add punch layer here we can do it after stitching okay we need color

height roughness metallic and opacity so

for the first layer I'm going to create the overall shape of the punch and in

the second layer I'm going to add opacity inside the punch okay so this

punch it's here let's add a black mask I'm going to add blending mode normal to

all channels and now I'm going to add a fill layer to the mask and in the gray

scale I'm going to use a circle shape alpha which is a shape border yeah and

as you can imagine we need to turn off the UV wrap and after that you just need

to set the position this layer that's it okay

We need to find a good position for that. Okay, I think it's okay and let's add a

filter here, which is the mirror filter. It's a good way to duplicate a detail

in one side to the other side, but it's a little tricky. So as you can see,

we can turn on display debug and you can see the line over here and in the x-axis you can control

this line. So with this line you can create a mirror effect or you can just use the symmetry

option for the paint, but I don't want to use the paint layer. So it's okay, I think it's mirrored

already.

Yeah, and let's add the normal in the layer and AO, because in this way

we don't see the data from the down level, okay, down layers actually. So

let's play with the parameters to achieve what we want. Let's disable this display debug,

and after that I'm going to adjust this slider to define what I want. Okay,

it's okay, everything is okay, that's it. Maybe a little smaller size is the

good option, that's it. And maybe the hardness should be

something like 0.0.

Okay, and in the layer I'm going to increase the height level to something like 0.2, that's

it.

Okay, everything is okay, maybe the hardness should be much higher, yeah, something like

this.

And I'm happy with the result, that's it.

So for the inside part, I'm going to create another fill layer, and I'm calling it Hunch

Opacity, and let's add a black mask, and turn on just only the opacity, and bring down the

opacity value.

So in here I can use the anchor point, and another technique.

So I'm going to copy this to here, that's okay, I'm going to increase the border width.

and the hardness. So this is the result and in top of the mirror I'm going to add another fill layer

and recall the punch mask here and change the blending mode to subtract. So in this way we have

this little inside mask and you can decrease the hardness.

Okay and maybe in the fill layer you can play with the level to avoid outline line.

That's it and everything is okay for the punch section. So let's go back to the punch

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and I'm going to decrease the height amount to something like 12 and the roughness should be

near to zero and the metallic should be on one. So we have the metallic part here.

and that's it. So the base color is good, the height is good, the roughness is good,

the metallic, the normal, the ambient occlusion, everything is perfect.

So we don't need to have any extra steps, we have our material here and that's it.

So we can export the textures to Marmoset Toolbag and render it over there.

And for this purpose I'm going to use the output template related to Unreal Engine 4 plus height.

But you don't have this, okay? You need to create this.

But how we can do that? How we can create a template for ourselves or modify a template?

For this purpose you need to go to the output template window and in this section you can

duplicate any of this template or create a new template from scratch, okay?

So in here...

I'm going to select Unreal Engine 4 Pact and duplicate it. So this is the Unreal Engine 4 Pact

copy. So you can rename it here and I'm going to call it UE5 for example. Height

ORM, Ambient Occlusion, Roughness and Metallic. So in this way we can define what is the template

and what is the workflow template that follows, okay? So we have Emissive, Normal, Metallic,

Roughness, Occlusion in one single map and the Base Color and the Opacity in the Alpha channel.

So we need to create another output. For this purpose we are going to create a Great output.

So that's it and I'm going to copy this text in here and instead of Emissive,

I'm going to type, for example, Height or Displacement Map or anything you like or, for example, Edge instead of Height.

Okay, so this is our name, this is the Mesh name, this is the Texture Set name and this is our Channel name.

And if you are using a specific color space in your textures, this is the place that color space mentioned.

And if you are using UDIMs, this is the part that UDIMs number appear.

So, for this purpose, we can create our name in this way and how we can set the Height or Displacement Channel to this export output.

So, in here, you can see the Input Maps, which we are creating the fill layers and you can see the Mesh Maps.

It comes from the bake in the beginning of the project.

and you can see the converted map for example you don't have any glossiness parameter in the fill

layers and in the project but you need glossiness so you can convert roughness to glossiness and

you can do it here so let's go and find height okay that's it and i'm going to call from height

i'm going to export this output from height in the gray channel not in the alpha channel okay

so that's it it's okay this is a ue5 version of template we are just created that and let's go

back to the setting and in here you can see you have ue5 height or m so uh let's export the unreal

engine 4 plus height or let's choose this one there is no difference between them and let's set

a path for the exporting okay now uh we set the path

we are using the template that we created before the file type should be on png and i'm going to

export it in 16 bits and the size is 4k and the padding should be on the default setting

so let's export okay now we are in the final step the final section which is rendering and

i'm going to load the fx file inside the marmoset and the first step that i do is

uh turn off the callback faces for each model it's like the double-sided in substance painter

as we discussed before and for the material let's load the textures okay i'm going to load

the base color here in the albedo map the height map in the displacement map okay

and the normal should be load on the normal map but we need to check on the flip y because

at the default of the

Unreal Engine 4 template in Substance Painter is DirectX, our project based on DirectX and the

Marmoset read normals in OpenGL in default. So we need to check the flip y to show the normal in

the viewport in the correct way. So let's go here and turn on occlusion and transparency to cut out

to remove the opacity. So as you can see we can see the inside of the punch and the shape here

it's correct. So let's add the other textures here.

Okay so we don't need this window anymore. I'm going to copy texture to each slide.

Okay, paste it, paste it and for the roughness the channel G, it's a channel that contains

the roughness and for the metallic it's a channel B and for the ambient occlusion

it's channel R. So, the red for ambient occlusion, the blue for metallic and the green for roughness

in the simple words. So, this is our result. We can

check the, for example, roughness value in here. It's okay or not. We can see

the albedo and the base color. Okay, that's okay or not. And we can see, for example,

the reflectivity or metallic. So, everything is okay but we need sometimes go back to the painter

and change some parameters and after that we can export it again. So, I think...

remove some reflection from the surface in overall because as we can see the roughness value is not

correct for this material and before that let's do some mandatory stuff in Marmoset. So, for example,

I'm going to turn on subdivision on the hat model and increase the subdivision level to something

like 3. Okay, that's good and for hat pin or logo arm I'm going to add subdivision

to something like 5, for example. Let's check everything is okay or not.

Okay, maybe we can increase the displacement amount here.

Okay, now

it's not good. The 0.05 is a good amount.

And for this one we need to increase the height amount in the layer that we

create head pin. So let's go create a camera and we can reposition the logo

arm. You can use the front

Okay, ctrl F to find the object. Yeah, and

Let's

Set setting for example the size

Or maybe

Just a little

Yeah, I know this one this one is okay

You just need to increase the height amount here

so

That's it in

the camera number one

We are going to setting I just click on this icon to open the camera one option and

in here

I'm going to

increase the vignette the softness and

the sharpen should be on one and

The clarity should be on one again

The highlight I'm going to set it to

negative 0.2. For the mid-tone and the shadow positive

0.2, positive 0.2. That's it. Tone mapping should be on ACES and for the curves I just set the

curves to high contrast. Okay, so let's go back to the field of view and change the lens to 80.

That's it. And for the frame, let's set the frame in the output section in render setting in 2000

and 2000. Okay, and the sample should be on 600 and the format of the render, it can be JPEG or

PNG. It's not a mandatory option that we should follow. It depends on your needs.

And the denoiser strength should be on one and in the render camera

we should add camera one and remove main camera. Everything is done here and we

need to turn on ray tracing and advanced light sampling. So in the camera I'm

going to turn on the same frame and reposition the camera according to the

frame and the lens number. So that's it. I'm going to change the HDR to

alley gravity. Okay and increase the brightness to something like 3 but I

don't want to have a backdrop from the sky so I'm going to change it to solid

color. The color should be on dark gray. Okay as you can see the value of the

roughness on the hat and the leather is too much reflective and we need to

figure out how to solve this problem and give some extra height to the logo part.

So

Let's go back to the Substance Painter and in here I'm going to the roughness channel and as you can

see it's so much close to the dark and when the roughness channel is too dark it means you have

too much reflectivity and whenever you want to decrease the reflectivity you need to increase

the whiteness in the roughness channel. So I'm going to use a hack here. I'm going to add a paint

layer and call it roughness control. Okay and I'm going to change the pass in the blending mode and

apply to all channels. That's it and let's add a filter for example HSL and in HSL I'm going to

turn off the color and turn on the roughness and in this way I can increase the lightness and have more rough

surface not reflective surface so this is a good way to control this you can

increase the contrast and luminosity also contrast I just need to have roughness

effect so you can create the contrast and change the luminosity okay

like this and let's see what happened in the viewport

without this and with this okay so let's decrease the lightness here yeah so uh let's

before export the textures we need to add some extra height to this one let's check

the displacement amount okay so I'm going to increase the height amount for example I choose

one that's it

so let's export from Substance Painter and replace the textures in Marmoset

and it happened automatically when we set up the material and let's wait

what's happened here yeah I think it's okay it's so much better so much better

okay

So now, as you can see,

Yeah, I think this amount is good, and let's increase the subdivision for the hats from

3 to 4, okay, and we can use another technique.

For example, I'm going to duplicate this material and give the material with this amount of

the height, this one, or maybe a little higher, for example, 0.2, yeah, and decrease the amount

of the height from material for the hat.

So in this way, I can keep the same value in base color, roughness, normal, ambient

occlusion, and metallic for these two materials separately, and change the displacement amount

in two material separately too. So this is the way that we can control the result, and now it's

time to create some lighting. If you have never tried to lighting in Marmoset, at the first step

maybe it's like a tricky one, but at the end you can find out the Marmoset is so easy, and you can

create the best lighting system with no pain, okay? So for the lighting scenario I'm going to

create a light from here to here, and another light from here to here, and we are creating

the key light and the rim light here, and for the rim light I'm going to create this kind of light

around the shape, and if we can use the sky to fill up this section we just use that, but without

the sky we need to give some brightness here too. So the plan is so clear we are going to create

in a studio lighting. Okay now I'm going to show you my method to create a studio lighting in

Barmstow Toolbag. So I just click in here and detach this light from the sky and turn off the

light from the sky. So I'm going to increase the light amount to 7, that's it, and increase the

diameter from shape to have some soft shadow and create the pure white light. So this is my light

that comes from here, so I need to reset the transform. Okay

that's it, and now I can select the light and go to the rotation, but I couldn't see

the gizmo because it's down there, so I need to bring it up, that's it, and now I can use

the rotation to rotate my light.

Okay, now I decide to change the shape to rectangle and use a big dimension for that

and a little rotation in x-axis, something like this, yeah, and let's copy this light

and move it to other side, okay, in here, like this one.

Okay, I'm going to create a duplicate and I'm going to call it back light.

And for fixing the back light position, I'm going to turn off these two lights and just

move the back light to the back, as you can see.

And now I can set the position very easy.

Let's change the position of the camera.

Okay, this is my back light.

So it's okay.

This is my key light from the right.

And this is my key light from left.

So let's adjust the position for these lights.

Okay.

Okay, that's it.

And let's turn on the skylight.

Let's adjust the position with holding shift.

and right click of the mouse and moving the mouse. Okay, that's it. So

okay, maybe I need another light.

Okay.

It's my room light for the right.

And this is my key light.

I'm right, but the brightness should be on something like 6.6.

This is a lighting system that I create for this one in Marmoset.

So now we can adjust our material to achieve what we want.

And let's decrease the backlight.

from 7 to 6.8 or 6.6 to avoid light burn here.

That's it. And let's go back to the Substance Painter.

And I need to adjust the roughness

again.

So let's finish the computer background and we can increase the

luminosity. That's it. And we can increase the lightness. So let's export it again

and see what happened in the Marmoset. Okay, now this is the result and I'm happy with that,

but I think we can decrease the roughness slider here.

and a little increase the reflectivity on the material and it's okay.

Yeah, it's okay and I'm happy with the result. So

this is the final shot for the military hat project and I hope you find some new technique

and new way to texture your project during this tutorial. So let's go to the next project.