Toolbag has a great feature called Speedy Viewport Mode.That way I was able to keep the scene tidy and be sure I wasn’t editing the wrong camera or light by mistake. Then I created a group for each setup, so I could quickly work on each of them and then lock it once I was happy with the result. So I used the Main Camera as the perspective view and created one extra camera per render, as well as a Sky Preset with unique intensity and light positions. For showcasing the model, I wanted to produce 6 renders, each with their own camera and light setup based on the same template.The units of an imported model can be changed in the Scene object properties. Many settings in Toolbag are physically based, so if the imported model has the wrong scale, most of the default values of shaders, lights and so on will be wrong. The first thing I did after importing the model was to compare it against the Scale Reference.I was trying to save some memory here too, so I merged together Metalness, Roughness and Ambient Occlusion in a single map, one texture per channel. Substance Painter doesn’t have a preset for Marmoset Toolbag for exporting textures, so I created one myself. I wanted that to be constant shaded, so I exported an extra map just for that purpose. Emissive: I placed the UV shells of the interior geo in a single UDIM, mainly cards with projected photos, to give an idea of detailed interior with minimal effort.So I kept all the geometry with transparent material values in a single UDIM and then exported the Opacity channel as a separate map. Opacity: The way Toolbag handles opacity is a bit different from Substance Painter, and even if I could test the values of the opacity channel in Painter, I knew I was going to tweak the values again later.I wanted to save some memory, so I decided to export the Height and Normal Map combined. While in Marmoset Toolbag, unless using Parallax, there is only one slot for the Normal Map. Normal maps: Substance Painter usually keeps Tangent Normal Maps and Height as separate channels.There are still a couple of things worth mentioning when exporting maps: Marmoset Toolbag uses that shading system too, which meant that the maps I created in Substance Painter, once imported in Toolbag, looked almost exactly the same. That’s becoming the standard pretty much everywhere, from games to feature films. I worked on the textures entirely in Substance Painter, using the PBR Metallic/Roughness type of shading system. So if you need to edit your original mesh after doing some work in your scene, you can overwrite the original FBX and you won’t lose anything. Toolbag has a very handy feature: the Reload Mesh button. The material assignments will load when you import the mesh in Toolbag. After splitting the geo by UDIM, you won’t need to move the UVs, because Toolbag can read them properly even if they’re outside the 0 to 1 space.Įditor’s Note: Alternatively, you can assign a unique material to each UDIM rather than separating the meshes. I had to keep these separate, so I could later assign two different shaders in Toolbag. The only exception was the UDIM 1025, which had both transparent surfaces and opaque ones. I named them accordingly in the Outliner, so I could easily assign each shader in Toolbag. My asset had 46 UDIMs, so I ended up with 46 meshes. To start, I merged all the geometry into a single object, then I selected the shells of each UDIM in the UV editor and detached them as separate meshes. It’s a pretty easy task, especially in my case, where I just had one complex asset. At the moment, Toolbag 3 doesn’t support assets with UVs in multiple UDIMs, so in order to assign the textures to your asset properly, you’ll have to do a bit of preparation work in Maya or your 3D application of choice. Let’s start with the one and only piece of bad news. In this article, I will explain how I used Marmoset Toolbag 3 to create static renders of the International Space Station used in the short film, Flax – Sh*t in Space, produced by Bacon Oslo. Over the years, I started to focus more on texturing, and am now responsible for the whole texturing team for the shows I’ve been working on. I’ve created all kinds of assets, including characters and environments in different styles, ranging from medieval to futuristic. I worked in many studios including Weta Digital, MPC, Double Negative and Framestore. Hello everyone! My name is Gianpietro Fabre, I am a generalist TD with more than 13 years of experience creating high-end assets for feature film.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |