Original subtitles

Okay, now we are in Substance Painter and in the baking room, so we can talk about the baking

process. So let's increase our knowledge about the UI inside baking room. Okay, so the first

window in here is Texture Set List. We know that, so we can skip. Okay, and just one thing

you need to remember. We can control which texture set or which part of the model should be baked.

Okay, when we click here. So this window is important, but before that we need to know

how it works. And right now you should know that and it's enough actually.

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We are going to talk about this in the future, but...

it's okay for now. So, we have another window here, which is Mishmaps Bakers. So, we have a list here,

and we can choose which Mishmaps we need, and which Mishmaps should be baked when we select

this button here. Okay, so the list, it's like normal, world space, normal, ID, ambient occlusion,

curvature, position, thickness, height, normal, opacity, and all this. Okay, so the default one,

it's okay for 90% of the project. We don't need to change something, but sometimes we need height,

sometimes we need opacity, and sometimes we need bench normals. So, sometimes...

we don't need ID, or position, or normal. For example, we bake normal maps in other software,

like Blender, or like 3ds Max, or Marvelous Toolbag, or anywhere else, and we bring that data

in here, in Substance Painter, and we want to use that. So, there is no point to baking normal map

inside Substance Painter, okay? So, this is the list we can select from them, and we have common

setting, okay? So, whenever you click on each of these mesh maps channel, you have some setting

here, okay? We are going to cover the setting that we need to tweak, and the others should be

like the same, the original one, the default one, it's okay. So...

Mostly, we tweak the setting inside common setting.

For example, you can change the resolution of mesh maps.

You need 1K mesh maps, 2K, 4K, or 8K, for example.

And notice that the mesh map, it's not procedural.

It means you can make 4K to 2K.

You don't need to do something special.

You just need to decrease the size.

And the quality, it's going to decrease in this way, right?

Because you lose so much pixel, okay?

But whenever you will need to increase your resolution, for example, you bake 2K.

but you need 4K in your mesh maps, you need to rebake. It's not like a viewport in Substance

Painter, it's not procedural, you know. You need to bake again to have the quality of the 4K.

It's not like I choose 4K and the quality should change to 4K. So it's important to choose

the right size. It depends on your purpose in here. So most of the time I go with the 4K

and if I need 2K for exporting, I just put 2K and it's okay. I don't lose anything.

So the 4K, it's good for us. You don't need to touch this setting here, it's not important for us.

But the most important...

option here, it's like this window. Okay, whenever you import something into

Substance Painter and there is no high poly version of that model, you need to

check this checkbox here, use low poly mesh as high poly mesh. It means you need to just

translate the data from the 3D model to the 2D space and that's it. We are not faking anything,

we are not creating any rays to catch the data from high poly version and this kind of

words and procedure. So it's okay. But we have high poly version right now, right? So let me

define the high poly version. Okay, so I click here, go to desktop,

and choose Hi2. Okay, now we can see there is something in the viewer. We are

going to cover that, don't worry. So we load something here, Hi2 OBJ, and

that's enough for this space. And if you don't want this high poly version, you

just need to click on this minus icon. Okay, so the cage, we can create the

custom cage inside the 3D modeling software. Okay, and we can use the default

cage, which is like outer space of the low poly model. It's like a shell option

or second skin of the model. Okay, so if you need to use custom cage,

you need to click here and define your custom cage and the custom cage it's

like the model, it's not something special data from your software. You

need to create the outer shell, okay, to cover all the HiPoly data and you

export it as obj or fx, okay, and you define it here. That's it. So let's turn

off this and in here we have two sliders and this slider is the important one, okay.

So it's like we can define, as you can see, the limitation for the cage, right, so

this is the very important slider here because we have the position

the coverage or the match option as a first step and for the second step we need to define the

right distance for the cage. Don't worry we are going to explain you in the example. So that's it

let's reset the data here. Okay and we have these three checkboxes. We are going to keep them

like this and we don't want to touch anything here and the other important factor inside

mesh map setting and the common setting is anti-aliasing. So anti-aliasing can help us to

increase the quality on the mesh maps especially when we have diagonal line like this because

at the end we are going to

record all the data into the pixel, right? And when we have diagonal line

on this UV, the pixel, we have some juggling effect, okay? So we need

anti-aliasing to remove this effect and increase the quality. So we have three

options here, 4x, 16x, and 64x. When you are in the test phase, okay, we have test

phase, we lower output size like 2k or 1k and lower anti-aliasing setting like

4 or 16, and after we see everything is okay, everything is perfect, we don't have

any big issue on the baking process, we can set the final setting.

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4K and 64x for anti-aliasing to get a clean result inside the baking process and the mesh

maps.

Okay?

So, I'm going to set super sampling 64 for anti-aliasing and that's done.

And for the match option, I'm going to explain you in the project this option because it's

a little complicated and we need to work on a real subject.

So, that's enough for the common setting option and we don't have any setting for the

normal or the space normal.

We have some setting for the ID color, we don't want to use that here but I'm going

to explain you, don't worry, okay?

For the ambient occlusion, two settings in the ambient occlusion mesh map channel, it's important.

Secondary rays, when you increase this, it means you are going to increase the quality of the ambient occlusion, okay?

And it takes more time to calculate the mesh maps, so be careful about this.

And the self-occlusion, okay? I'm going to explain you in the project, don't worry about this.

In the curvature, the same. The position, we're not going to touch anything here.

The thickness, we have self-occlusion again, like ambient occlusion, and the secondary rays,

and you can increase this, but it takes more time. And in the height, we don't have any special setting.

And we leave it like this in the BenchNormal. We have self-occlusion, I'm going to explain you

in the future, and the secondary rays, and it can increase your quality,

okay, as we discussed before. And the opacity, nothing there. So the most setting,

it's on the common setting. The output size, it's very important.

Anti-aliasing, it's very important, and it could help you to increase your quality

inside the baking process. And after that, we have high poly definition option here,

and the cage slider for max frontal distance. It's a crucial setting that we

need to tweak, okay. And in the example, we can see

why it's so important for us, okay. So before jumping to the 3D viewport here in the baking room,

I'm going to bake all the texture here and we are going to see what's happening after transfer all

the data from high poly version, height number two, to the low poly one, okay. So let's bake it

and see what's happening and we can come back here and continue our process. Okay, now we are done

here in the baking process and we can see the magic of the baking, okay. This box, it's like

12 face with sharp edge, okay, and the sharp angle. And as you can see, we can feel the chamfer

that we have on the high poly version.

on this model, right? Okay, so this is the power of the normal map. So in the texture

set setting in the mesh map, if I remove the normal, as you can see, there is no

chamfer edge here, okay? But let me press ctrl z and now you can see we have some

smooth surface here, the chamfer here, but the main problem is this hard edge here.

And what's going on? How we can solve this problem? It's related to the sharp edge on the model

and the UV cut scene, okay? So this is the UV map that I have here.

And on the model, let me show you, okay, let me delete this, we have this sharp edge, okay,

without any transition, any transform in Chamfer or anything else.

So when we have a sharp edge on the surface, we need to create a UV cut here, a UV seam cut here, okay?

So the other solution for this is like removing all the sharp edges, like this, okay?

This is the sharp version, and this is the unsharp version.

So I create this with a smooth modifier and give it...

one smoothing group to all model. So the technique here is using single smoothing group.

Okay, let me export this.

And this is the new low poly. Okay.

And for the new low poly we use the same UV that we have. Okay, so let's go back to the Substance Painter.

And I'm going to load the new low poly. And now let's go back to the bake room.

And I'm going to bake again and see what's happening after that. And now we have...

our mesh maps on the new model and there is no any seams here or black line here.

So for solving the black lines on the normal map, the baking issue in the normal map,

we have two solutions. The first solution is using one single smoothing group technique.

And in this technique we need to have a high poly version and without that high poly version

we cannot use this technique. And the second solution is something like this.

Let me load this one. So we have this UV map and we are going to create

on the edge, each edge that we have to sharp.

for sharpness, a UV cut.

So after this, we have a new UV.

So let's do that. Okay.

We are in the rezone and we need to create

cut line on all of the edges here,

and let's pack all the UV. Okay.

We are going to have some introduction to rezone lab for the UV

mapping. Don't worry about this step.

I just want to show you what's happening when we bake the mesh maps and what are

the common mistake,

common issues inside the baking process and give you some solution.

Okay. For each project, for each problem,

you need to figure out what is the problem,

but there are some main step to preventing

issue inside there.

baking process. Okay, so we break all the edge, all the sharp edge on the UV map. So let's save this

version. Okay, and let's go back to Substance Painter, we need to update the model that we

have here, as you can see, and we need to bake again. So after baking, we come back here and see

what's happening. Okay, now the baking process is done, and as you can see, there is no black lines

on the model, right? Everything is clean and perfect. And this is the UV that we have, we

create, right? So we can solve this kind of problem with these two different techniques.

The first solution was

using a single smoothing group for whole surface whole model. Okay so after that

when you bake there is no lines there is no mistake on the normal and your mesh

maps. Okay and for the second technique we just put seams or the UV on the sharp

edge on the model. Okay so in this way we can control these artifacts on our mesh

maps and we can go to the next video and we are going to load the mystery box

that we create on ZBrush and bake it into this simple box and see what's

happening because now we have chamfer edge. Okay it's good we done the job but

it's not enough.

We need to see more about this magic. So let's go for the next video and after that we can

know about the baking visualization option inside this window.