Car skinning blender tutorial; Assetto Corsa, ACC, rFactor, etc.

all right so um i'm going to be doing timestamps later so that you can hop around all willy-nilly um i'm doing a set of courses to start with so i'm just going to start with grabbing your file so instead of corsa content cars whichever car you want um this is this right here specifically is the um program that i use to export out the kn5s into a useful data format so what we'll do is we'll drag that over i already have one there it's whatever um when you run this spits out fbx which is what we're looking for that's one of the autodesk standards um the objs work um but the materials don't generally work properly um not sure what the zm hack is i just ignore them um so what it does is it pulls out everything into textures that you would get in textures and it just spits out all your crap now the thing is is blender doesn't like ascii fbx files so what we do is we got the fbx converter from autodesk we tell it to grab that fbx um fbx save mode binary um by default it spits it into this fbx 2013 folder i just made a new folder because i don't like the name of that so let's do that changes it over there and convert i already did this earlier as a test run to re-equip me with stuff so it's already there but replace it it takes about a second a slightly smaller file that blender can actually read these are other cars that i've been working on previously so i'm gonna copy out that porsche put it in there replace that ascii fbx and then we are good to go on that side so and um this isn't usually how i have my blender set up i just wanted to start with the default so you can see kind of how i would uh organize stuff for this so ultra wide the proportions are also a little bit messed up timeline don't need so you just drag the corners if you don't know that you can reorganize how things are laid out and blender by just dragging corners and moving them over so i'm going to start by clearing everything out file import fbx i think it's under it's under there yeah ac cars here so the only thing that you really need set on here is you want the image search um set of corsa for whatever reason scales it at like point zero one so i always do 100 scaling or 100 time scaling when i put them in and then you know reverse it on export um auto orientation works um i turn off animation i'm not sure how much that actually leaves out but you don't need it anyway so it's just whatever you know keeps file sizes down a little bit i guess now the way that kunis does things they have all of these parent objects where let's see can't necessarily see what that one's tied to but it's furthermore most these are used for animation they're very much a nuisance and get in the way but the best way to or what i start with is i always just figure out what i'm actually painting and then clear out everything that i don't need so i'm gonna do i'm gonna pull up one of these that's the uv editor pull up another one uh for the shader get rid of that so with this selected we can see that this uses metal dts and exterior skin dds so this is set for the uv it should be easy so i'm gonna do exterior skin so you can see what that texture is and if you do a tab you'll see shows up here on the uv editor in this particular case it's always offset by you know a full block above basically what what they do is this repeats infinitely in in all directions so this is actually down here this is just tiled upwards i don't know necessarily why they do that um it generally doesn't matter too much i believe if you're doing normal painting uh it will automatically paint it on the correct tiled texture but one of the things that i like to do for some of my effects is i do uh light baking so you can do that for shadow mapping you know if you're putting in ambient occlusion that kind of stuff um although i also use uh light baking for some other effects so anyway what you're gonna do is you would grab it moving around do y and then -1 that'll just tile it down a full thing sometimes i notice it goes by pixel i'm not sure what delineates that so you might have to do instead of minus one like 2048 in this case it's not going to do that so but i'm also not going to touch that for right now because we want to do is we since we know that this is tied to this texture not terribly apparent for that part but say if we select like the uh the door put the door in there and it depends on which file you're looking at but usually if they actually have a filled out texture file with not all of this stuff missing it's usually pretty apparent you know where things line up yeah like this for example so we can tell that this bit of trim and that are all tied into that so we know that this is part of the material that we want it has that and all of these other parts that we want to actually be painting on all have linked materials so what you do shift l select linked material so that grabs oop not what i wanted there we go so that's going to grab every material on the car or every object on the car that uses that material i'm using shortcuts that are probably not tied to what i want them to be tied to oh you know this is also probably tied into evie yeah for cycles um yeah sometimes it renders stuff correctly sometimes it doesn't it's it depends on which which car you're working on um although usually blender doesn't like this mess of the textures that the fbx fits out it's just close enough um in a few regards that we want to just keep it just so we can tell what things are anyway so we know that that set of materials is one that we want to paint so create a new collection and now you have your folder structure over there so those are moved over uh we know the main body is something that we want so we're going to select that group set of materials and move them also over to that new collection and it doesn't update immediately but if you go over you know use the numbers on the top of your keyboard so one going over there two going over to that other set so that's what we have right now and from earlier poking about i know that the wing is also part of that so just to show that it is we will do go back into the uv select that grab that move that down see what that looks like and that lines up with the texturing that we have over there so we know that's also something that we want so can also move that over there so now we have you see because i've been moving stuff some some stuff but not all stuff down so what you're gonna do is you do b get you a little border box selection make sure we didn't grab anything we didn't want to grab move that all down there and now now we have what looks like a pretty full texture file so probably not missing anything from that main texture that we're working on now you could just delete all this um it depends if there's if there's another texture file that you know you want to work on like say uh this is one of the ones that has a separate rim blur texture let's see grab that ouch and it's not visible great so if you know you want to do the rims you can keep them or pull them out into another um collection it just kind of depends on what you want to do um but if you want to just get rid of everything else which which you first want to do because these are set up in in weird you know parented ways that do rotation and scaling and all that kind of stuff so what you're going to do is you have everything selected that you want to paint you do alt p it's going to clear the parent you know clear parent and keep transformations so now if we go back here and we get rid of everything everything stays the same if we undo that let's go back see how many steps i need to go back okay so you should still have the parents attached go back to just thinking about it okay go back here then we delete everything you can see that there's rotations that get messed up um correct these ones aren't too bad you should be fine by doing a um you know set 3d cursor to let's see and then we're gonna do uh rotate everything around the three cursor select that and that and that and that and then those ones and then you could probably just do a rotate x90 yeah and that and everything's fine again so you can fix it sometimes but it's easier to just um get rid of that parent relationship if you're trying to get rid of stuff just because a lot of the times you end up with much much weirder things um just working back through the undo's let's go re-edit everything else there we go okay so i'm gonna go back over here um i'm just gonna clear out everything from that other file just so we can clean up uh so if you look in your textures there's just a whole bunch of stuff because everything is still in there so i'm just going to clear everything else out just so we can clean that up some so got everything selected again clear parent keep transforms grab all these delete them now when you delete those you see that there's still all that extra crap in the texture fields so what you want to do is over here you want to look at orphan data and this is just a list of things that are not currently used by an object so if you look all these meshes here those are what were used previously the images you know those are all the textures that were being used i think the brushes are just kind of a default thing they just kind of stay there but we purge it so it's going to get rid of all the unused data in the scene now we have the list of materials um because it it kind of goes step by step it doesn't immediately get rid of everything and everything that depended on it it just does the first top layer then the next one then the next one is you keep on going down so we're going to purge those materials now we have all those uh extra textures that we don't need so we're going to purge those and now that is nice and clean so go back over to our main file we're working on you see we only have the textures in there that this particular material is using or these two materials i guess because they're two separate materials so what i'm gonna do is i'm gonna have us make a new material because we really don't want to use this garbled mess and do extra painting or you know you could label it like main car whatever whatever you want to name it so uh because the way that i made it it just duplicated everything over so we're gonna do is we're gonna select that ctrl i invert our selection we're gonna get rid of everything but that we are going to do a diffuse shader just because we don't need anything complicated we just need something and texture image texture slap that straight in there for right now and we're going to do a new image texture um let's do um just do a 2k texture just for right now and i always do my base as a white base just so that i can still see the geometry of everything underneath it so uh white base with an alpha uh i recommend doing alphas for the way that i do layering so anyway so we're going to generate that now we have our simple texture we're going to order some more material select everything we're going to have this be the highlighted one so that one's a yellow that everything else is orange so that's the primary thing selected we're going to do control l to make a link and we're going to link all the materials so now everything is using that one material that we made for that so now under here you'll see that the exterior carbon material is no longer used and it shouldn't be using the other one either let's see nope not that one layers let me see any objects in there anyway so if you go back to orphan data purge that material purge that oh you know what there might still be one of these that no maybe not still have that other material somewhere which is a bit odd we do still have some of the extra textures lying about um one thing that you shouldn't need to do anymore um but i i always used to do in um 2.7 is joining everything into one object um not sure if you need that at this point because so back in 2.7 you couldn't edit multiple meshes at the same time or multiple edit the meshes of multiple objects at the same time so we have this selected and then we now have this selected we can actually find out real quick if we can uh do what i'm thinking about so if we go to the texture painting i'm gonna go into material view okay i think it i think it does still apply because it looks like it's just looking out so if we make this blue yes okay so you do still need to join objects so what we're going to do is we're going to go back into object mode so we're going to select everything because we want everything to just be one object and you could split this out in different ways depending on how you're working on things like say say you know you don't want to be painting the wing at the same time that you're painting everything else so you can deselect the wing oh although that little those are a separate thing and you can always separate out objects later so or separate out uh parts of the mesh layer so we're gonna do is we're just gonna take all those control j that joins them all into one object now if we look over in the view layer you say we you see that we just have this one here let's do main body and then we'll name this other one wing wing so if you did want to do this separation you see that we still have so we have this here and then we have these little bits on either side that say we want to paint those of the wing what we do is we just hit tab go to edit mode deselect everything boundary box select that boundary box select those and then we are going to do um p yeah separate selection so now this is its own separate object we're going to select that um the the wing that we set aside later is the the primary selection okay so ctrl j again meshes it back into there so now we have them set up as two separate objects so that's the basics of just getting your um materials and cards or meshes kind of sorted out so at this point what i'm going to do is i'm going to set up the layering so for layering what i do is i just duplicate out a few different layers let's say four layers so we got our layers there and what we want is we want a color mix rgb slap those in there and we're going to use let's see which way do we want to go um let's have let's do it in a somewhat normal way so this is going to be the base texture then this one then this one then this one so this is always this is going to be the top texture so this alpha determines what the texture below it will be um and i'm just going to test this real quick because it's not the most intuitive way of getting things set up this is going to be layer 2 actually well we can do that in a second this one is going to be folder new it's going to be layer 1. um and actually what i do for these for these layers is i want them to be transparent because we just want a blank layer that we can paint on top of and it shows up above the layers underneath it but not uh not otherwise so all right layer one i'm gonna go edit layer two and actually if we look up so layer one nice and transparent layer two is not so we do let's see so n um brings up this little tab on the side um so we're gonna do blank and color turn the alpha down on that so now layer two is another black layer so we got that mixing i'm gonna add in you know let's change this back to that base layer uh which i just left is untitled that to base so if we look at this should all be white because that's what we have set for the base so i'm going to do is we're going to go in here go to texture paint and let's see i'm trying to remember where to here we go so actually yeah you do want to do um texture slot material and this gives you all your different options for which layer you're painting on so we're going to start with layer one actually let's start with the base because we want to be able to make sure ah so you see that it's set the wrong way around switch that over so now we have the base that shows up go to layer one there we go so now we can see that layer one is showing up over layer 2 which is the base so this is the kind of setup that you're going to want for that and one thing this is not actually how i usually work with this kind of setup here what i usually do is i separate these out into a new window so going to duplicate area into new window so you know i have a fully separate window this keeps up with this one um depending on what controls you're using or if you have like custom settings sometimes it doesn't react correctly you have to go over and like re-click on this window to make sure that it moves its attention back over but for the most part it acts just like a fully normally incorporated thing so what i'm going to do because i have a vertical monitor over there i'm just going to set this up here for right now and what i do is i have that same kind of setup with one doing the shader and then one doing uv edit just so i can see how things look and i can go into uh the uv and see how the meshes line up as well so i'm just gonna get that set up and i actually still need to do some stuff in here so we're gonna do is we're gonna duplicate this down and we want this to go let's see so top layer in the bottom there and then we want the factor of the layer above to control the mixing so that's kind of how you're going to have things set up and then and then basically the end of this chain is going to go into your normal color for the diffuse and that's that's how you're gonna be able to see everything so copy that down one more time so slap in our alpha and then color from here bottom slot and color from here into there and the end of this long chain is going to go up there that should be our full thing so let's give these new textures this is going to be letter two this is gonna be layer three um and i just have the base there to basically keep the model at all times visible um because if you set a a black texture which you'll end up with is the model will just be entirely black you can't actually see what the geometry of it is so keeping it white will give you the shading granted that's a older technique that i use because that i used in 2.7 era blender so now that you have the option of changing what the the lighting is um it's possible you don't need that anymore but yeah it's whatever so what we're going to do is i'm just going to start by going back to that base layer so it still has some guff on it i'm going to reset that to just white go to layer one i know maybe we did set those up the wrong way around another one should be switch that switch that switch that that's not quite right in a very odd way all of that should it's been a while since i did this i think which way around it should oh you know what i'm doing these in the wrong order because this should be feeding into the last one not the other way around so that see clear these out yeah so when this is the you know it's black you can you can see the outline but you can't make out any of the geometry in there which is why i have that white base layer so base layer we want the second layer with the alpha determining set that to one temporarily just to make sure we see the differences slap that color in there there we go okay so this is the way around you want things set up so color the bottom one and the top top on the bottom factor of the next layer up controls it i'll switch that back to layer three we'll do the same thing with that so this feeds into the top here color into there off into there and then one more time so color of that color and also there we go okay so now um and you can you can propagate this down however many layers you want um so now you have working layers in this so i think sometimes you need to refresh this to need to exit out of it and head back in for it to there we go yep so now we have our separate layers one two three and base so we do layer two and we do green so now you have your layers working properly so i'm going to start by just clearing those layers because that's all garbage stuff that i don't really want okay so now on to some helpful stuff for uh painting tools so um by the way one one thing about the view um you've got orthographic which is just a uh basically an infinitely it's a flat if perspective press 5 on the numpad you get your kind of normal like i perspective and then you can use the numpad to switch around which which way you're looking at something so let's start you know what let's do color palette first so color palette i'm gonna make a new one um this is just useful for keeping track of different colors that you want so say you want this like magenta e color or whatever i'm not not a man of colors nor a man of knowing names of colors but for each color that you set along here you just hit this little plus button that'll add it to the palette then you can easily switch between them as saved colors there you can also set up different palettes so you know there's a list of palettes that you can go to so this is i guess just the base palette that they have set up um you have custom ones and you can name them different things for you know whatever you want um let's see that stroke one of these options down here has a stabilized stroke so stabilize stroke is really interesting and very helpful if you're using the mouse um i at the moment am using a mouse um or if you just have wobbly hands so stabilize stroke actually let's choose a better color than that but what it does is it creates this little line that drags along so you influence the the the painting point is actually at the end of that line as it moves so if we put that radius up a little bit more that makes the line a bit longer so you can see that it you know even even if i jitter this around a lot it makes a smooth curve out of that um and then you know if you do max strength and you put the curve up a lot you know it becomes very yeah um so the higher those are set you know the the more smooth things become although also you kind of run out of space with your cursor put that back so that's one thing let's just put that at 90 for right now actually i guess it's just factor that that affects it let's do 0.95 that's a reasonable length okay uh symmetry is also a thing which is very handy i imagine you know what symmetry means but you know it's it's symmetry it creates symmetrical things so that's that let me do [Music] texture stuff right now so not mapping so what you're going to want is texture so make a new texture then under this menu over here so so this is i'm trying to think of what the what the name is in other programs it's either stencil stencil is what it's usually called in other programs so what you have is you can pull up different textures um let's see i'm not sure offhand what i have that i can use um let me use that so now we have this logo in here this is set up as a texture by default it does this kind of uh you know oh that's kind of fun um by default it does this uh what do you call it tiled yeah so it does tiling stuff what you want is you want to set that to stencil now you have this here um if you right click on it you can drag it around uh control right click will spin it alt no i think it's shift does shift does scaling um reset those transform so it's just down here image aspect that's going to put it to the right aspect ratio and then we can take this and we can say i want this logo here let's turn off the smoothing that we have set on so now you can paint over it and it will apply the stencil now one thing you may see is over here this has a lot of gray in it but when we look here it's just red that because we are painting with a red color so whenever you're using a stencil you're going to want to do just normal assuming you want the full color value of the stencil you're just going to want a full white uh brush because that will apply through the full stencil color and we had symmetry on so nay have it on the other side so one thing that i always used to do when i was doing texturing because you can have mirroring you know it'll it'll give you the right location for the other side but if it's a stencil you need to reset it um or you need to you know invert the um geometry for lack of a better word of the stencil on the other side i would do a stencil with mirroring just so i get the location right kind of line things up more or less to do then is you turn off the texture so you just exit out of it and then you can switch over to let's see oh that's right it's under here for the eraser so you can do erase alpha this is all mess symmetry turn off your symmetry erase that out so you don't have that on that side go back to your texture switch this back from eraser alpha to mix so you're in your normal painting mode repaint your stencil and now you have more or less mirrored stencil on both sides for whatever you want let's clear that out let's see and i i really don't have any plans for what i'm painting with this car at least for this live stream so i'm not gonna try to do anything specific design wise um actually one thing that i should mention um when i set up these textures as 2k um the the race series that i'm usually in we have a rule where skins are you know 2k or lower it was an older series so you know those rules probably could change because hardware has changed but whatever end result being i want to make a 2k skin i would not recommend starting in 2k for for blender what i would do is i would start on you know double the resolution that your your final thing should be then downsizing it um just because it makes things a little bit cleaner um when you're either saving stuff out or exporting it because blender does not do you know anti-aliasing on everything that you do depending on what brushes and uh and all that you're doing so i would always you know uprez your your working files then down res them on on export um so let's clear this out trying to think so there's some more settings uh in here that you should be aware of so occlusion and back face back face calling so there's also bleed which eh it doesn't doesn't necessarily matter that much um bleed is basically let's see if we go back to this so let's say you're painting a thing we're going to do just this over here so if we look over here go into edit mode and select it so this is actually this line here that's where the mesh stops that we were painting on but you see there's a tiny bit of bleed over actually pricey better on i picked a really bad uh bad spot to do that on it uh one issue with these is that they have a lot of like very small compound curves at the edges so it's kind of hard to show this but bleeding does is it will just kind of over texture let's see that corner it'll over texture around where the actual uv is so depending on how tight um your constraints are for the for the uv islands so like say you know there's a piece there's another uv like right here which will paint it on a completely different part of the car you're going to want to turn the bleed down so that it doesn't you know bleed over into your other parts of the card that you don't want to affect or you can turn that up if you you know say you're doing painting like this and you want it to get that other section there where it kind of wraps around without kind of doing this weird thing where you change the view and then repaint and all that um oh one thing to keep in mind um so this is just with the normal brush i haven't really changed strength or radius settings for this but when you paint you get a little bit of that kind of gradient on the edges that is constant to the size of the brush so you notice when you zoom in and out you get wider and wider um radiuses of that gradient um when you're painting so that's one thing to keep in mind is it's it's not set for or the gradients are not dependent on how many pixels on the texture you're painting are it's how many pixels are displayed on your screen um for for the size that you're doing um so if you like bump this radius up like a lot you're gonna get that same kind of you know very smooth um gradient where you may be wanting something sharper um let's see and there should be and in this set of settings up here that's the same as the one i have over here on the right so if you look under fall off and you can set it as a constant falloff so it's literally just anything that is not you know in that box it just gives you a hard alias line um just kind of depends on what you're looking for but you have a bunch of different preset curves and you can also of course move these around and get you know kind of wacky yeah you can do garbage like that if you want uh there's also a sampling rate somewhere in here under stroke um input sample i believe it's that one nope not input sample not that either i remember where that is it should be in there but there's a way to do there's a way to make it do more samples per per distance when you're doing strokes somewhere i'm sure you can figure it out somewhere anyway um that's pretty much it i think for uh texturing stuff with like the normal paint tools um i mean the main thing is just layering you got your uh your stroke smoothing for for any stroke stuff that you want set up so i'm going to go ahead and i'm going to go into what i call light painting light painting is the term that i heard when i was doing uh this kind of thing in photography with prolonged exposures so that's just the term that i'm familiar with you know let's just clear it out there so what we're going to do is go back into object mode so what i'm doing here actually do need that's odd in the option anymore for that um i do need to see what uh you know what i'll just do that the other window so what we're going to do is we're going to set up lighting um to bake a texture into the car so what i'm going to do so under material if you hit this um it will prevent that material from ever going away um if you're doing other stuff even if you change you know so basically that thing where we're purging orphan data this setting right here will prevent this material from ever being removed even if it's not selected on something so that's a little kind of protected uh icon so we're gonna make a new material i'm gonna go over to my settings over here and on this new one i'm going to do this as bake and let's see what do we want this to be now i'm gonna do i'm gonna do something pretty basic so what we're gonna do full white texture diffuse setup so it'll just capture all of the light that we shooted it in you know whatever way i am going to add in two cylinders let's scale that you know let's go into options here i need to make that fairly thin cylinder make it a bit longer rotate it over grab it put it over here like that just a little bit longer so i'm also going to do a mirror on this i'm just going to do this through a modifier so i can move around a little bit easier later um here set that up on there we go okay so we've got a mirror here what i'm going to do with these is i'm going to set these up as lights so we're going to do an emission material and let's do let's do like a lime green let's see i'm going to want this like kind of kind of there um now this kind of um light baking this is something where it is actually useful to have those other um uh objects and and materials set up earlier um or you know the rest of the objects of the car um it's just handy to have them if you're doing something like this depending on what your effect you're going for um just because what this is doing and actually let me just switch over to this so actually and let's go here i'm gonna turn on transparent backgrounds as you can see things a bit clearer so what this is doing is this is just casting light into the car so we can kind of see see what it's doing um so this is going to give you a green effect on the bottom and let's say it's gonna give you a nice gradient based off of you know physically you know physically realistic in theory uh light tracing for how things would bounce up the car with uh lights like that setup so i'm gonna do is i'm gonna set up one more of these i'm gonna get rid of that mirror i'm just gonna put it at zero x i'm gonna give it a new material and then this one is going to be let's do orange just whatever really contrasty thing let's put the strength of this one at let's do four and this one we're gonna do two let's see let's move this one up just a tad more okay so then we can switch back into our rendered views kind of see what that does so that's vaguely interesting effect again depends on what you're trying to do um the other thing you can do is with this bake texture or big material i should say you also change this so let's say we want something glossy and glossy is going to give us something kind of like a metallic material so now you have a little bit of a different pattern there you change the roughness down so say you do 0.2 now it has a very uh would you call that but it's a very reflective kind of directional reflectivity so 2 is a little bit low for roughness so let's do 0.35 now you'll notice when you move that camera around it's changing kind of the direction that things are are looking at you may think well how's that going to affect the bake the answer is and um the bake basically what it does is it it references from the car's material out so it's it's a bit weird um what it does sometimes but usually it it ends up making sense so for baking what you need is you need a texture to bake too uh for right now i'm just going to use the base layer because i don't see why not and one thing you may notice so when we're looking at this so we got the color for the green color from the orange made this gray in the middle now what that is coming from is the world background so background surface that's fine but you notice that it has a strength and it has a color so if we hide both of these lights you see we get this gray so if we up the strength it adds more light so if we do zero we get nothing generally when setting a zero especially if i'm using anything reflective i also set this to absolute black um just because if you don't do that the reflection from the car can still pick up the color even if the strength of the world is zero because it's kind of like a um it the background material it acts kind of like um like an emission material so if you have a light but it has you know so you have a green light um but it has zero strength of the light emission it's not going to light up anything green but if you have but if you're looking directly at it you can tell that it's green it's just a light that is off and kind of that's kind of what it acts like so what i usually do is i set it up just as pure black so that you don't have any interference with whatever lights you have set up um so now we go back over to our material over here and the way that texture baking works is it takes everything in here takes all the lights it renders them out onto the texture and it renders them into uh the texture that you have selected so if i have this selected i tell it to bake it's not going to do anything you have to have a texture node not tied to anything you have to have that selected and the texture that is selected in here that is what it bakes the the results to um so if we go to base so we can see what it's doing there um and when you're doing baking it uses your settings in here for uh for for render details so that goes off of light paths and you know your your seating type and all that and denoising um i'm not gonna really get into that um in this just because there's a lot to go into um depending on what exactly you're trying to do with your light sampling so i'm just going to set up with branch pathing i want a little bit more samples for well actually let's do that transmission we'll do two and these are all just different ways that light bounces around um ambient occlusion we'll do two mesh lighting that's fine subsurface subsurface and volume you don't want to really touch because those are very intensive and at least in this case we're not using those so don't want to deal with that uh diffuse will do two so this is the really the only ones we care about um this is the viewport um and then this is the render so this is doing 32 samples for the viewport and then 128 for the render so just to see kind of how long it might take i'm just going to do 128 for that so about halfway through still a little bit of noise in the image so let's let it do the full 128. see it cleans up a little bit better so what i'm going to do now is i'm going to set the viewport down to 64. now it doesn't update um when you do that it only re-renders when you move the the scene around that you know you can see it counting up the samples there i'm going to do denoising we're going to do render we're going to do open image denoise um that's the so there's the intel one open image noise there's the object switches and videos there's the nlm which i think that's the older version um i've been using open image denoise which has been pretty good um but i also haven't been you know super up to date on on blender and all of its updates so i'm just going to do that and as you can see so when i apply this to the viewport it's denoising each frame so the sampling is going to take longer but it can give you an idea of what your your final thing will look like i'm just going to go ahead and leave that off for right now and let's do let's do for the render we'll do 48 samples with the open image denoise um there's all of your light bounces i'm gonna knock this just a little bit um the more bounces you allow the longer it takes generally but you also get more accurate uh end results so uh number of bounces being you know when a bit of light oh one helpful thing for when you're doing renders if you do control b you can select what it's rendering so less pixels it's rendering faster it goes so when you do higher bounces so you have your green light coming from here hits here and you see here there's a bit of bounce light from this area back into the body uh then kind of back and forth so what you can do is the more bounces it is just the more accurate it is you usually see it mostly with like reflective things so if you have like a a pair of mirrors you know on opposite ends of the of walls um you know light bounces between them infinitely in theory um in the real world there's a little bit of loss due to whatever and that slowly fades out darker and darker or gets distorted um in blender or any other kind of simulated thing what you would end up with is you would just run out of bounces at some point so it would just be fine fine fine fine then it would just stop um at a certain point you end up with uh let's see that's fine um at a certain point you end up with the the the last set of things that it's rendering you know that last set of bounces being so small or makes such a small difference that you don't really notice it so it's kind of a balancing act of selecting how many bounces you need versus render time because in theory you can just set it to infinite number of bounces and it'll look perfect but in reality you don't really need that you want renders to to go faster anyway you do alt b no sorry control alt b and that will deselect your little render box so this should be good let's go ahead and take a look back at this so we got base selected we have our material set up the way we want we have our lighting so this is selected that texture is selected i'm going to go down to here bake this is telling us what all were what all different light types where we're rendering out um output to image textures and it's gonna clear the image first so that all looks good so we'll tell it to start baking and it's just going to go through and i think i seem to remember that you used to be able to see the preview uh of what it was doing prior but possibly not anyway so we'll let this finish up well they might have changed things let's see and put two image textures basically the blocks assist with the active image no that's right oh i guess it did not finish well that's odd why i wonder don't have baking as an input so i should just go to because that's what it says image textures fake to image data blocks is those with active image texture nodes and materials yes that is this just a base let's just make a new one just in case someone will do fake and i would usually set it up as a extra texture anyway not not necessarily send it to the just like that i usually would send it to just the base that i'm using for painting all right let's try that again see what it does it's possible that you can't use denoising with it um i'm trying to remember if i think i've used denoising before um again it's been a while last time i did image baking for materials was in 2.7 ah there it goes okay so for whatever reason it might have just not like that so it did a fairly decent job yeah i don't think it did denoising so you might need to use more samples than you would generally use with the denoising on but that's not that's not too bad so what we'll do um also whenever i'm working on this usually what i would do instead of hiding stuff is i would move everything over to um i would create a duplicate of this scene actually let's just do that now so what i do is i duplicate everything here and i would do a new collection collection three you could name it actually let's just name that as baking so i would have that as a separate thing and then in here get rid of these because we don't need that for this one and then back to material view so that's you see that's that glossy thing but we don't really want that for this one we still want it to be that main car painting material because we're doing painting here and then the baking over here um so if you're doing painting here and you want to keep that painting you can do that but for right now we just kind of want to see what it gives us with the textures that we set up so what we'll do is let's just put layer one as the bake result so there you go so that's kind of how it how it spit it out and again that's not exactly what we were saying in the uh in the rendered view but you can see that it kind of makes sense for how how we set up our lights so it's hard to get an exact idea of what it's going to bake out when you're doing this kind of material especially when it's um when you're using a glossy um material for your baking base but usually it makes sense and you can pretty easily change things one thing that i've done in the past which i like the idea of never been a massive fan of the results uh just because of how it's set up is uh i've done this kind of light baking with a like a curve curves along like the body of the car so like say we want busy a curve always puts them in this orientation which is kind of obnoxious we're going to put it out here rotate it oh that's right because i selected 3d curves or i just want the median point of the objects i've selected so rotate that go back over here rotate it 90 on the z so say you want to do something say you want to do something like this where it follows the kind of lines of the car uh i'm just gonna extrude that out let's see i actually made two of those there we go i'm gonna do something like that and then we'll do something wrong there scale that down and then put that there okay so now we have this kind of curve kind of terrible just slapped it together uh but what you're going to want to do is geometry you can extrude it actually it's not extruded maybe it's bevels what i'm thinking of yeah bevel is what i'm thinking of so now we have an object with an actual you know 3d depth to it i'm going to bump up that resolution so it's just a bit more smooth and then of course you can edit this in you know i can move this over like that or whatever because 3d is wonderful so you can do the same kind of thing with this so you can set this up as like you know say a bright pink line and now you have a pipe bright pink uh stripe along the side of the car for whatever um i've done in the past for for a few different things it's it's an interesting thing you can do another option just just ideas um but there's a ton of stuff that you can do with um uh with light painting um and you can also set up like procedure procedural materials um with uh the cars that you've set up let me see if i can actually find there's one in particular that i worked on ages ago let's see that's all track stuff that i've been working on and just see just looking through those truck tracks again maybe it's in this one ah so this is this is that one that i was talking about there so these are all different uh light emitting lines uh yes and there's that texture that i was thinking about so if we view this you'll see a horrendous mess different stuff i think i was doing like a um i want to say it was like a usa themed thing or something along those lines so it's a it's like a red white and blue setup um oh by the way if you're doing um rendering so i think on that on that other one it just defaulted to cpu because i hadn't changed default settings on this one it's doing gpu as well so when you do gpu loading or when you do gpu rendering it has to create the render kernels for the gpu the first time so it usually takes a minute or two to do that let's see okay it's going to take forever for that so let's go back to that come on come on yeah i have a vega for gpu rendering it it's not terrible but sometimes it does have some odd issues although blender rendering with gpus i've never had great luck with in the past just in general um especially my um had like a 960 and it always gave a nice little kernel errors and would just you know crash out in the middle of the thing which is always fun all right this is not behaving i'm just going to close this out and reopen it come on yep i'm aware go away there we go so i'm just going to go back in here cpu compute just so you can kind of see so i know what this is not is that this should be mission see where's my yeah those are oh you know what i think my world yeah so this is what happens when you have your your background set up um and this is this is one thing that i do for um uh baking shadows into things so generally with your kunos parts they give you what's called an ao layer which is for ambient occlusion um you can make your own in blender by doing basically you set the background to full white you set strength to one that's you know more than enough uh and then you just give it a bake it'll just bake in all the the shadows um that would normally be there from kind of the way that close objects interact with each other but for right now i just want to put this down to nothing i wonder if this is set up as a mission that is set up as a mission that that's odd okay let's do diffuse shoot yeah so there you go that's an idea of uh kind of how that that ended up working out um anyway that was those were my older projects just kind of wanted to poke in but the main reason i wanted to pull over here because of let me just see what layers i have okay it's not doing layers properly i think this is the one nope that's not it but if you look here you see this weird kind of wood texture so that is one that i had set up uh as a procedural texture in here see not that there we go wood delivery um so this this was a fun one um so this is entirely procedural um i have a uh color mask here uh which is painted out that controls how the different materials work so this is a this is a fun mess yeah so this is the what it's actually using for this so feel feel free to pause this and and look through it it's it's a nightmare um but uh say masks they you know combine in a lighten fashion i think i just had that so that it was a clear it just grabbed all the white texture and just slapped it into the same thing so that is mixing these two different wood textures that i made so got two different nodes that do it's it's it's a whole bunch of noise it's fun this is a fun thing to set up um i just had a lot of fun with this project and i like i like how it came out looks terrible um everyone hates it because it's a it's a wood car um but i i really like how it came out uh that was a that was a lot of fun but i just wanted to point out that there's a ton of like really really interesting stuff that you can do um when it comes to materials and and so this was basically what i did is i set up this material then i set up a uh uh texture bake and i just baked it out into uh into a normal texture i got a solid you know uh texture out of it and i just slap that into a set of corsa and then you know you get your wood grain car um there's one thing i'm forgetting about this there was another image oh uh the kilomass bake that's what it was um so this one was one that i actually used lighting to do i think it was literally just like i had a single light kind of above the car so you get that kind of like light gradient um between the the light wood color and the and the darker wood color anyway tons of fun there's a lot of possibilities with with baking and setting up kind of weird uh material nodes uh don't say i just want to close that out let me just make sure i pose all that okay so after you do whatever it is you're doing um what you're going to want to do is oh you know what i just remembered something i didn't finish talking about the textures things that i wanted to talk about earlier let's go back into here uh put this off of bake back to layer one so there's one thing in um um there's one thing i wanted to talk about in the texture painting settings that i forgot to talk about so in here down at the bottom let's just do it constant um so the options here i talked about bleed i did not talk about occlusion or backface calling so if you're familiar with what these terms mean you already know what they are but in case you're not uh occlusion means that if you have a part that is in front of another part and you paint over it it will not paint to the part you cannot see so for example there's let's move over here sure that yeah so so there's this whole area inside here um if we rotate the camera from here we can't see behind that so with occlusion on and we paint in our whatever blue color that we happen to have selected so with occlusion on nothing that we can't see from that angle gets painted but if we turn go back occlusion off i did not know apparently you can paint through that that's terrible i hate that setting but if you turn occlusion off what that means is you can paint through things even if you can't see them so if we redo that you can now see that everything in here was also painted however this stuff here was not painted that is because of the other setting which is backface culling so when you're looking at this this is the front side of the face that is the back side of the face so anything i paint over there not painted because that's the back side of the face there's a really good way of showing this and let's see we'll have to do this and then oh that's fun i have not seen that before that's kind of awful um let's see there is a thing in here for face orientation it's not going to show it in texture painting view i don't think there we go so face orientation so blue being the um the front side of the face and then red being the back side of the face so you'll see everything in here switches around so back face culling means anything that is the back side or in this case red you can't paint to that anything blue you can so if we go back to texture painting if we get out of that horrible view that's oh you know what i still have that set um there we go so yeah that's that's fun um so if you turn off backface calling you can just paint on any side and so if you have both of these off you can paint here it'll paint straight through to the other side here so let's clear those out so now if we paint a line here it is going to go straight through absolutely everything anything that's on that plane it is going to paint uh regardless of which face it's uh which way it's facing you know if if there's things blocking your view of it it's gonna paint everything um in theory you can use that instead of mirroring just kind of depends on what you want to do um but yeah i just wanted to cover that a little bit of the texture settings that i or the painting settings that i forgot earlier so that i think should be it for that um one thing that i do recommend doing so in this layer setup that i have um so layer one layer two i'm just gonna do something on layer two just so that we have a few different oh i already did something on layer two that was all in layer two do something on layer one come back here scroll back down to here okay back on so it's gonna do a few different things just on random layers layer three is going to be let's do that pink that i selected earlier okay and then underneath everything there um this is garbage obviously um i just want to show you kind of how i do my final export so what i always do for exporting is i do that same baking method i do it for a few reasons it makes all of the basically it flattens all the layers down into one texture which is really nice so when you're done you just do a bake it puts everything on one one file you have everything there you get your shading um for your ambient occlusion um in order to do that though what you're going to want to do is you're going to want to take this put that all to one so you get your nice white background strength of one and then i'm going to do is let's see that's all that for that and then can go back in here gonna duplicate out one more thing um new file this is gonna be you know final result or maybe final layers so now we've got that this is doing diffuse it's doing all of our layer uh intermingling the way that we want it to so that should be everything that we want for that just go back make sure that that is selected it is indeed selected um we're gonna put nope not bounces uh diffuse is more important because that's what we're actually baking put glossy down because it doesn't matter as much so go back to object mode and make sure we have this selected and then we're going to go ahead and just go back to baking and double check one last time that we have the right thing selected which is in fact final layers so i'm just gonna bake it out give it a minute it's going to spit us out a file yeah it used to give uh live progress i think um i guess not anymore maybe i'm thinking of uh if you cancel it halfway through i'm pretty sure it shows you what it rendered so far but you know obviously not the full thing um i believe the base was messed up because base is actually that texture paint that we did oh you know what is it still rendering by the way one thing that they changed which i'm really not a fan of is they got rid of these options so what it was doing is it was still rendering everything in the light baking setup which we don't want because that's all garbage that we don't want done um pro tip turn these on those are useful useful settings so we're not going to render those lights we're going to redo this bake give that a minute to complete all right so that should have finished then we'll go to final layers so it's set to clear that out basically hold on because it shouldn't be doing contact confined just baking that that's not being rendered set to clear image although it did take a while to to kind of refresh it last time so maybe it was still doing no that's still still a bunch of garbage let's discard that let's try baking that one more time let me go back to the base layer and just make sure it's not yeah so i think the base layer was in fact a bit messed up so anyway back to this face is good those layers are set doing that fake all right baking map saved and we go over to final layers there we go that's what we expected so now you get this hot hunk of garbage um and you notice there is a little bit of shading on these this isn't a terribly complicated car so you're not going to end up with too much ambient inclusion mapping uh the other thing is you could decrease the strength a little bit of the background and probably end up with you know something a bit more uh more dramatic in terms of how the shading is working um oh you know what that's fun i think it did some bounce light from uh from one of those so that's one thing you might want to consider you might want to turn off bounces for uh transmission just so that it doesn't uh transmit the color from one thing to another or since technically it's slightly more you know photo realistic you could leave it in it's up to you anyway so now that we have this we're going to do is alt s that's just going to save us out a document i'm just going to slap this on the desktop so final layers.png we're going to do um full compression it since it's a png is always lossless full compression just means that it does a um it just makes the file smaller so leave that png rgba because we want all of the uh uh not alpha channel but the transparencies and then we're just gonna go ahead and save it um it's just gonna take a minute to pull that in and we're gonna go over to photoshop um i don't like photoshop terribly much especially not for texturing um because 3d just makes it opens up a lot more possibilities and makes things a lot more simple in many different ways but anyway so this is just the way that i know how to get out dds files which is what we need for a set of corsa other games will use different texture files there's a whole bunch out there they're usually kind of weird or possibly proprietary so you're gonna need to figure that out for you know whatever it is you're using some of them i imagine are very nice and used as pngs but in this case we're going to save this as a dds i'm just going to save it out to the desktop right now i use dx dxt5 this is just what we've been using for you know our league for ages so that's just what i'm used to so let's save it out as a dxt5 it is that's not the nope oh god god i hate you windows so i'm just going to rename that to well actually first we need to open up the uh game files okay so under skins you're gonna make you know whatever new folder for the car that you're working on so examples um just need to figure out what the main one is which is that ext skin that we were using earlier in blender i'm just going to copy that as a file name find wherever example went samples i'm just going to slap that dds in there rename it and then you should be good to go so we'll open up content manager give it a second i'm gonna go down to the car that we've been working on which is the club sport and you see it now sees it because it's like hey you're missing garbage you idiot it just has one file gonna go into the showroom and now we see our wonderful wonderful terrible car it is horrendous but it is there and if you look in you can see that shading did in fact apply um in the areas that we had it set up for now it does seem to be shading this a bit weirdly um i have a feeling that there's something odd going on with that model um i'd have to take another look at it oh you know what no that's a that's a set of course itself so in the game they have these materials show up slightly differently um probably something to do with the default um alpha channels that they have set and you can see that applies to everything there was that second set of uh um meshes that we pulled out when we were originally doing that first setup for the texturing so um that is one last thing i do want to go over uh very lightly um so if we go back into photoshop go to channels um there should usually be see i make a new one yeah so the alpha channel um a set of course has a default one which is it's applying in this case uh let me pull up a normal uh skin just so you can kind of see what it shows up as um oh you know this is the png uh so we don't actually want to be looking at that one nope we want to look at the dds because the dds should have that alpha in there anyways yeah so there's that alpha one so in ours it's just spitting out black and white um although i think the game is probably ignoring it um if we pull up uh one of the normal skins uh let's see this is probably one of the default ones pull this up yeah so this is whatever scan that they're using in game this alpha channel so you see how it's doing things in a few different shades um the alpha channel does some weird stuff they use it for kind of changing the material properties in the game i'm going to change over to one of the cars that i know does kind of more weird stuff with the alpha channel let's see hybrid i'm pretty sure has a more standard kind of alpha channel stuff let's see um set under oh there it is blind nope nope they're just doing black and white for that one see one of the lmp cars i don't think some of the ones that we made toyota oh that's right no it's not the um i'm not thinking of the alpha channels i'm thinking of the map file sorry again been a while since i mess with this so the map file is what determines how things behave in a material fashion kunos does some weird stuff with this um but basically the blue the green and the red channel all control different things um i have a short write-up about it over here um actually let me see if i can pull this up i'm still logged into yes okay so i'll put this link um in the the description later um but this is there's a whole bunch of weird nonsense and this is this is ages ago this was posted in like you know 2013 no when was the anyway this is this is like from way back when the game was just like you know i think still an alpha possibly um that's fine that's why there's a lotus but anyway so there's a whole bunch of garbage about how it does materials so there's glossiness there's how um how sharp the reflections are a bunch of weird stuff so what's probably happening with that porsche on those different um uh those differently colored materials they're probably using this for the main body and then something like this for that uh for those like kind of plasticky parts so you can change those yourself um they're a bit weird and obnoxious but yeah so you can pause this and read through it if you want or i'll just put the link in the description i'm sure there's more uh detail that they go over in other comments but that is that map files are terrible i try to avoid them i use them once or twice to do kind of matte materials for a few cars but one thing to keep in mind is they don't show up in the content manager showroom or at least they didn't um they don't show up in the content manager showroom the same way that they show up in the in-game showroom and the game itself there's some slightly different rendering pipeline it's weird and obnoxious i hate dealing with them um but if you want to the uh they're almost always just underscore map um and you should probably be able to see it in oh you know it probably doesn't have that texture anymore but we can see if it's still there um but when you unpack everything it should be in there uh might be the flat normal map or it might be plastic detail shouldn't be plastic detail those are detailed uh textures in in a set of course are usually like small like you know carbon um where it'll just you know mirror stuff about this the one that had live stream stuff up somewhere there we go okay um usually the details are just like small tiled uh material things that are just you know spread out throughout the model um as like a tiled carbon texture or you know like maybe scratches on the paint or whatever but yeah so that map file is what determines some car material things but yeah that should be more or less start to finish of how you do texturing um i think that's pretty much it so uh yeah that's uh i don't think there's anything else model out texture out texturing itself texture painting or light painting that's uh yeah that's everything um oh uh there is one thing you can do um i haven't done it in ages but you can select different like specific uh faces and there is a thing in texture painting it's this one yeah so this button up here will do a paint mask where it will only allow you to paint on those faces that you've selected so it won't paint outside of those faces you can go into edit mode and select more or less but that's that's one way of doing things i don't find it terribly useful um at least for the academic course models just because they kind of split them up in a weird way and it's more of a pain to try to select out um like full full model areas um but it can't be useful to say you know i want it i want the thing that i'm painting to stop exactly on this door seam so you just select those it's pretty time consuming and obnoxious but let's see but you can do that if you want to you know specifically just do set areas and you don't want anything to extend past that um so that is an option um it's a bit obnoxious and fiddly but you can do it if you need to um but yeah that that should be pretty much everything so uh yeah um i'm going to be putting timestamps in this video at some point um don't know when that's going to be but probably in the next day or two maybe sometime next week um and if you guys have any questions um i will do my best to answer them in the comments when i have time so that's uh that's that thanks for tuning in and uh goodbye

Channel: 1armbiker

Views: 33,282

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Id: rp8ZT4yyKFo

Length: 92min 10sec (5530 seconds)

Published: Sun May 23 2021