All language subtitles for 14_Introduction_FirstProject_ExportingTexture.ENGlish

Okay, after rendering with IRAE, it's time to export the textures and go for the Marmoset.

But before this stage, let's continue our discussion about post effect in Substance

Painter.

When you activate post effect inside display setting for rendering the stage, you need

to know about this fact.

The post effect, it's not just only for rendering with IRAE.

It could be active for display itself, but it's going to give expensive processes on

your GPU.

So be aware of that.

But for example, you want to have the top field on the viewport, as you can see, or

any kind of setting that you have in post effect.

But we are focusing on the top field right now.

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It's not a good way when you want to change the focus distance.

with this slider. So you need to have some shortcut for that and the shortcut is Ctrl

middle mouse button and you can have the DOF in the viewport and you can see what's happening

exactly on your surface and focus on some area. So let's go back. I want to add some scratches

on the surface. For this kind of effect we can create a fill layer and let's call it scratches

and I'm going to add a black mask for this layer and let's add fill layer and in the gray scale

I'm going to search about scratches and we have so many map and grunge in the Substance Painter.

We can use them as a base fill layer or gray scale.

to creating scratches. You will see in the project we are going to use many of them.

But from this point of view you can use these scrunches inside TomSaws Painter or you can search

in the Google, find for example a nice and great scratches map and use that inside here.

Okay, so let's add one of them. Yeah, for example, this scrunch, dusty scratch, I think it's good.

Okay, let's go to the mask itself. Let's bring up the tiling. Okay, yeah, it's good actually.

Let's increase the contrast and increase the balance and we can increase tiling amount

inside the map itself. Okay, that's good.

Let's add another fill layer with the scratch grunge, but a different one. For example,

grunge scratch generator. Okay, let's bring up the tiling amount. Yeah, it's good.

And when you add a fill layer and the blending mode is normal, they are not going to add to each

other. They are going to override each other. And the priority is for the top layer. Okay,

so let's change the blending mode to something like linear dodge. And as you can see, we are

going to add this grunge to the grunge that we have before. Okay, let's go add another fill layer.

And I'm going to load a pearly noise.

okay and I want to subtract the white area inside the Perlin noise from the

map or the maps that we have before the Perlin noise. So in this way I can give

some variation and more realistic look to the scratches. So let's change the

blending mode to something like subtract. Okay let's invert it. Let's play with

the scale. Okay like this. Let's play with the balance. Okay now this is more

natural compared to this one. Okay that's it. We can play with the disorder like

this and I think it's okay and we can use a filter

like a warp for example to avoid the generic form of the grunge and the warp filter can make

variation inside the data that we have. Okay so let's play with the intensity

as you can see yeah okay let's go back to the layer itself and I'm going to keep color I need height

I need roughness and I need metallic that's it and let's go and disable the active post effect

okay and we can set a negative value for height

like this. It's too much actually. Let's bring down the height effect and I

don't want to have roughness value inside the scratches. That's it and we

can play with the color, make it darker or white but when you scratch something

on the surface you can find a more brighter color from the inside.

So the inside layer usually they are more brighter than the surface itself.

So yeah I think it's enough, it's good. That's it and let's add a paint layer.

and let's call this paint layer sharpen. So I'm going to collect all the data in

base color to single layer. And how can I do that? With changing blending mode to

pass through. So basically I'm going to collect all the data from this layer, blue

that's the sharpen layer, and the data that we are going to collect and store

in this layer is related to the channel, the base color channel, because we are

just changing the blending mode to the pass through for the base color. And if we

change all the blending mode in sharpen layer to pass through.

For all channel we are going to collect all the data related to all the channel

from blue layers inside the sharpen layer. And it's not matter that we have fill layer

or paint layer. We just need to change the blending mode from normal or anything else to pass to

collect the data. So when we have all the data from base color channel to one layer

what we can do? So we can add a filter for example and use a filter to edit the data.

I'm going to use sharpen filter for the base color and as you can see it's going to affect

on all data.

from the layers below them. Okay, so the question is, is it going to affect on

just color or any data channel that we turn on here? The answer is it's related

to the blending mode. If we turn on or change the blending mode for height,

roughness, metallic channel from normal or anything else to pass through, yeah,

it's going to affect on them but if we didn't do that it's not affected. Okay, so

let's decrease the sharpen intensity to something like 0.3 and yeah it's okay

it's perfect and let's export the texture from Substance Painter and render

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this model with the material that we create inside Substance Painter in Marmoset Toolbag

as a real-time engine. So for exporting texture we need to go to File, Export Texture

and now we can choose a path or directory for exporting texture. We can choose a template

for the texture that we want to export. We can select the type of the texture that we want to

have. For example we need a JPEG, we need PSD, TIF, Targa or anything else that we should or we can do

in the list and we can select the bit depth of the texture and we are going to use 8 bit plus dithering

for most of the project or 16 bits and the png is okay for me and the size it's very important

this is the final resolution that we could export from Substance Painter. Okay for example we are

working on the viewport with 2k resolution and everything is okay and we need 2k resolution

so in here we should just select 2k for output but in the most of the project we are going to

export the textures in 4k resolution and we are not touching the padding setting here

and after you choose template in here for example you are going to export texture from Substance

Painter to CryEngine

for Corona Render Engine in 3ds Max, for Blender for RNOR, or for example for Unreal Engine,

you can do that. And after checking the template that you want, you can go to the texture set list

and you can change the setting related to the template, file type, size, and padding option

for each texture set separately. For example, you have three, four, five texture set in your project

and you want to, for example, the first one you need 4k for the output and the rest of them

should be on 1k. Okay, so you can do that in here for each texture set. You can change the setting

and actually you can use the list here.

to control for each texture set which texture should be exported.

For example, in the pot texture set I don't want to export the base color

so I can go here and uncheck base color, that's it.

But we need all of them and this is the setting that we have in Export Texture.

We are going to use Marmoset Toolbag and it's better to use Unreal Engine format for Marmoset

and we are going to use that a lot.

Okay, so let's set a path for this and let's press on export.

You can save setting before exporting and after closing and opening file in the project

you have the setting on the Export Texture window.

So, let's export and as you can see, we export all the texture that we want to the path that

we set and you can see which texture is exported.

Okay, now we are in Marmoset Toolbag and we are going to learn how to use Marmoset Toolbag

as a render engine for our project.

So using Marmoset Toolbag, it's very easy and we just need to load our model inside

the software and we can do that with File, Import and just select any FBX file that we

need.

And now I'm going to load the FBX related to the part, as you can see, and

rotating, zooming, and panning inside Marmoset Toolbag, it's very similar to

Substance Painter. With holding Alt and left click on the mouse, you can orbit

around the model. With holding Alt and right click, you can have slide zoom, you

can have a step zoom with the scroll button on the mouse, and you can pan

with Alt and holding middle mouse button. Okay, so this is how we navigate inside

Marmoset Toolbag, and we can just create a material in the material window, as you

can see, with plus sign, and we can rename it, for example, Substance Part Material,

and we can add this material to the model.

We just click and drag and release it in the viewport or we can just give the fx file material.

Okay, let's load the texture inside Marmosetoolbag. For albedo we need to load

the base color texture. We can do it with two different methods. We can click on this icon

and we can go to the path that we export the texture and select the texture that we want

and press open and boom it's loaded on the model and material or we can open the folder inside

Windows Explorer and just click, drag and release the texture inside the input area.

Okay, so with these two different methods we can set up our

material inside Marmoset Toolbag and the Marmoset Toolbag normal format as a default is OpenGL

and when you export the texture from Substance Painter and the normal format is DirectX

you just need to click on Flip Y, okay, and when you find out you need to press Flip Y

when everything is like inverted inside Marmoset Viewport, okay, so if you don't know what is the format

you export from Substance Painter you can just play with the Flip Y two or three times and

compare the result together and that's one give you more correct feel it's a correct format of

the normal, okay, so what's about the roughness?

metallic and ambient occlusion. In Unreal Engine 4 template, we combine

these three textures in one single image, okay? If your image is grayscale,

you have just only one channel inside your image, the grayscale value 0 to 1, black to white,

okay? But when you have a color picture or color texture, you have four different

channels, R as a red value, G as a green value, B as a blue value, and A as alpha value.

And you can see the color

inside the texture or even in your monitor with combining the data in R, G

and B. Okay so when we are exporting with Unreal Engine template we are going

to combine all the data inside different channel and we just have a single image

a single texture and we can use it in many input of our material. For example

inside the pot material

we have a texture here and let's load this texture to the roughness and let's

open this texture in viewer. Okay and when we

turn off all the channel and just keep the red channel as you can see this is our ambient occlusion

data. Okay and when we go for the green channel it's like the roughness data that we create

inside Substance Painter and when we go to the blue channel here it's just metallic data that

we create. So when we turn on all these three channels as you can see we have a very colorful

texture and it's not going to play the part of the material as itself it's going to be split

as per channel and we are just using this texture inside all the input and change the

channel from red to green.

for the roughness value from red to b for the metallic value and we can use ambient occlusion

for red channel. Okay, so this is the result that we have as you can see.

Okay, and we want to render this part inside Marmoset Toolbag. So, we need to set the render

setting, we need to create a camera, we need to create light and modify the light position,

the intensity to create a great result. Okay, so let's go for these steps in the next video.