Texturing in Photoshop for 3D: Quick Walk through using Maya

[Applause] okay so to recap with this so we put this lantern model and we're just unwrapped it so the UV look something like this cool so they've been laid out in a particular way for ease of use in Photoshop so I go to my perspective so we have the top bits I'll just highlight them so we've got the top bit there it's kind of organized we've got the ring up here and then we have these bits here so they're organized quite well these are pretty straight there's a bit of overlapping but these are on the interior corners so not too bothered these interior shells as well they're actually that hidden bits that we won't really see to camera these bits here as well of this top little section so I think this is the bottom yep that's the entire bottom there there's probably could be done a bit better we could square it off a bit by cutting down these diagonal edges but yeah I'm happy with that that's fine this has can be as been combined as one object for the purpose of baking the ambient occlusion we could leave it as separate objects so I saved the scene and then I combined them and the reason for that is when I when I'm baking the map Maya I mean Arnold generally seems to look at the specific object only that you have selected I could be wrong about that but that's just from the tests I was doing so anyway assign a new material so this is for baking an ambient occlusion so I go to Arnold AI ambient occlusion I'm going to close the UVs so we have that so now I've got two on it in fact let's hit render cool so that's the animate occlusion I'm fine with that and we want to bake this so we'll go to the Arnold tap and where is it render selection to texture you pick your file pick the resolution so I did for K so that would be 4096 it's quite high res so for this like probably could have in hindsight four repeats maybe 2k and up the samples appear I've taken a look at the texture I've already generated I'm not gonna render another one now just because it takes fit it's quite self-explanatory if you're using multiple you DIMMs press all you dims and but I believe the times I've done it recently the objects all need to be combined so you might just want to save version up and combine them just for this baking process so yeah and then hit render and then we're done so we'll jump into Photoshop and this is the end result that I had so that's for K I didn't change the samples so this is our texture I've just remembered I did not capture the UVs so I will open the UV editor so before I jump back into Photoshop I'm gonna take a snapshot and I'm going to save this into my texture area so I'll just call this lantern underscore UV can't spell you lantern and scale UV and how big do I want this so I think I'm going to take this at 4k seeing as I've did the bake at 4k and I'm not gonna change the image format image format as Maya if the size is 4096 by 4096 so I would say texture in a higher res and then when it comes to exporting this assets quite small in the shot so I could texture of 4k and just export at 512 by 512 so that's really small so I'm gonna hit apply it in close so now I can jump back into Photoshop and I'm gonna drop in my UVs so I've just dropped them into a new tab and then I'm gonna press ctrl a select all ctrl C to copy and ctrl V what is that saying okay it wasn't happy there for a second let's do with color space just probably check what I'm in RGB okay that's fine so I can't really see the UVs at the moment so I'm gonna make a new layer just to make everything clear and I'm gonna reset on the left hand side my color palette to black and white and oh okay yes because it's giving me an error because the this documents in 32 bits whereas the UV if file was like 8 bits so now so I'm just gonna use this other document so I've just copied to my ambient occlusion into my if setup so this layer 0 this is my UV so I'm just going to rename that and add an adjustment layer so it's this Halfmoon at the bottom I'm just gonna pick curves and holding down alt and hovering between UV and curves I get this link so then I select and it says that the curves are linked to the UV so then I can now brighten them or darken them depending on what I need I'm gonna drop some black down there and then brighten my UV s just so I can see what is what so now I can I have some textures in a folder so I'm just gonna locate them so I've got this bare metal I'm just going to drag in and then copy it across I don't like dropping textures straight into my working area because it creates a smart object which I'm not a fan of if you if you do do that it'll you'll get a weird symbol and then if you want to edit it it'll just say do you want to rasterize this anyway which is basically flattening the image into more more of a usable format so this bare metal that I've got it's not that high-res so I'd probably want to so I'm gonna I'm putting this over these are the outside so this is some sort of bare metal came from textures calm I don't really know what the metal is so this I'm just quickly going through this just see how fast I can get a texture out for the purpose of this demonstration so we're gonna have a bit of a scene going along now even though the u-visa combined they're blending kind of okay but I can fix that with a clone stamp so I'm just pasting my metal texture into these areas just where I know they're going to be used so just doing this very quick so all the bits that I know are going to be in fact I could just place this every go to town so this is pretty much as you could tell going to be the base color for everything but the reason I kept it small and I'm pasting it around it's just because this textured dot and texture size is 1600 pixels by 700 something like that cool so now I've got these layers here I'm just gonna shift combine merge layers I guess I'll rename this to be base metal I should probably create a group so let's use groups as our channels or textures so let's call this base underscore color and we'll create a group might as well create the groups now so I know that I'm going to have a roughness channel so I'm going to call this roughness I'll score channel and just create another one for speck no so this is metal so metallic channel and one more roughness metallic and bump to bump so now we can keep these separators in two groups so in the base color I'm gonna pop this ambient occlusion render and straight off the bat I'm gonna just multiply so now that's giving us some depth into our area so where it's dark that's exactly where it was dark and I'll render that you saw a moment ago so we're already getting some nice depth in there and what we could also do is if I copy and paste that and add an adjustment of invert so we can now do the opposite thing pretty much so I apply that down there and overlay what am I looking for actually I'm gonna leave that for the moment it's I might use that as a mask later so for the moment I'll I'll leave that and so now we need to add some dirt into this my computer is not having fun so I'm gonna drag a dirt in just a picture of dirt again from textures com it's a 1k Tyler ball although I tested the tiling it's not perfect so it's a bit of a lie okay so now the question is I need to remember which which bits were going where so where the shadows are we know they're dips in our geometry so that's a good starting point so this bit at the bottom from memory I know it's the it's the ball bit at the top of the lantern so I could just whack down this mud texture a few times there we go perfect and I'm gonna merge these two layers and let's try overlay see how that looks okay that's interesting it's quite light so let's try multiply multiply fine try it at 50% that's a bit too faded 75 maybe a fun leaver I'll leave it on normal for the moment cuz I'm gonna raise away at this so I'm gonna press E which is the hotkey for the eraser then go to my brushes and Donna I don't have Windows ink turned on [Music] screw that what I'm just gonna have to deal with no pen pressure so some of you won't have that anyway so I'm gonna scroll down in the brush settings to brush tip shape and I'm just gonna pick a noisy one and go to Rosa is it transfer no brush tip shape there should be it's a rotational I just want to make sure it's rotating for every right angle jitter so by default in mine I have it to a hundred so that just means it's going to rotate every time a brush is applied because a brush is essentially just a stamp that's continually being applied so I'm going to make it quite big I'm pressing closed bracket to make it bigger an open brackets make it smaller and I'll just type in 50 on my number pad and that changes the opacity at the top so that's 50 maybe 30 because I've got no pen pressure so this is going to be quite aggressive I'm just smoothing out the edge and then I'm going to tap like stamping out around there so I'm just fading it floating it back a bit I'm gonna lower my opacity to 22 stating it even more and I think what I'm going to do is apply muds to all the areas that I want and then put the mud into a group so then I can do my adjustments on top of that group so as this needs to be darkened pretty much so I'm just gonna grab my texture again and apply it to a different area I can't actually remember this bottom what this bit was so I think it might be it's the top it's the top okay so based on that I think okay yeah I think we can fade out so this middle bit would be hidden so the dirt if we had dirt at the top it would fade down there's not much shadowing from my ambient occlusion but there is a bit here so something like that and then if I just go round in a circle and just fade away that should work so with 20% on I'm still using my eraser tool so hot key again is e so I'm just gonna fade around this stamp a few times just to break it up so it's irregular cool that's fine I have another so that's there what's that fee because I've still got my rope and I'm just gonna double-check what the bottom bit here worms where's the bottom bit here okay so that is great great so now I can put all the way along the bottom of these these sections okay so merge those layers I don't need most of this so I'm going to change my opacity to 100 and just annihilate most of this if you want a straight line while you're doing this if you hold down shift when you so you press your brush down and press the brush down and hold down shift and you'll get straight line and you can also go from one end to another so if I select it here and then hover go over here and hold down shift before I click when I click it will generate a straight line as well so I'm going to change my opacity to 20 and using the shift key I'm going to fade out this line so I'm going to do that first and then stamp back use that stamping method that's how I'm gonna make the brush bigger and still got a really low opacity for this and the reason for copying and pasting the texture many times along is because what I am still aware of the scale we don't want the scale to be quite hard and also we want to use as keep as much of the texture resolution of possible so we're working in 4k but that that picture was 1k so we want as much information kept as possible because if we think about it this whole texture here would be each quarter of it would be about one key so okay so this bit would be the very top of so that would be slightly high on the lantern and then this is very well so I want to put a bit of dirt just on the top of it so I'm doing that's very very rough so then changed 20% so I just hit 20 in my number pad and whenever you do that it changes the opacity just at the very top of Photoshop great they'll do fine now add some dirt to this bits like using the shadows as reference this section leads to the underside so the under the actual under section of the of the lantern is here from what I remember I can double check so this bit here you should be oh it's not what is this all this very small bone there and that's the bottom so I could just put mud all over that and probably up there maybe whoops okay so that is so I've tried to lay everything out in an understandable way so there could be dirt at both ends of Sonny's on these bits here so that's coming down and the other bits whoops there we go so I keep my pasty at 20% actually maybe 30 30% break up some of this edge change it back to 20 or maybe 10 so I'm just keeping it low just because I'm being I'm rushing this a bit more but at the same time it's not specifically something I need to do neat so so I'm just pasting this to the areas that I want so what we might have to do for these bits where I'm placing this is we need to be aware that there are seams either side so whenever there's a cut in our UV so these edges Teknik in the 3d world these edges are next to each other so we should try and you know I try and maybe line up get the same thickness of dirt at these edges so as an example if I decided I want exactly there then if we do the same on these sides then it should line up vaguely but that's probably wishful thinking so I'm gonna put the opacity to 50 break away some of this using the shift key I'm going to line my brush up with this white line and all this over overspill doesn't matter we can forget about it so I'll do the same here I'll line up I'm trying to place my brush onto that white line and I'll change to 10 on the opacity brush again just keep rushing fading out but I I'm pretty sure that we're gonna we're gonna notice that it's 50% on the brush let's break away some of that and change the opacity to 10 and again break away the dirt all over here the only reason I'm gonna erase this is because I'm being really quick and lazy about this so I don't if it's overlaying UVs we're still being touched it into one separate area I'm just doing it very fast so it's limited organizing so these internal bits here the very fringes they will have some dirt on this bit which is the top bit I'm not sure if I want any dirt there apart from maybe the edges so in this instance I could just find this layer which is that one and sort of work my way out so it's just the very edges that have some some mud so I'm chaining to 25% on it on the opacity working it back and so like that and demo I need to delete this erase this area pasty 225 great so all these mud layers I can now merge depends how you want to organize things I guess so that's mud what was the other one this is a occlusion and base metal that's what we have so far that's pretty good so because of the time at the moment I might just quickly explore this and see how it lurch just for demonstrative purposes but before I do that I'm going to let's say copy and copy all those layers so I pressed ctrl a ctrl shift a so select all layers visible and then ctrl C and then ctrl V so now I have this single layer with everything so I'm going to be cheap and dirty with this so I'm going to put these this combined layer into the roughness and fiddle around with some of these adjustment layers just to see what result I can get if it's if it's what I'm looking for in terms of roughness so the roughness the white bits are going to be rough the dark bits are not going to be rough so that being said we primarily want the dirt so you can see the dirt is kind of black so I actually want to invert this so invert and probably add some curves so the metal bits that bare-metal that I put on they're going to be darker so the majority of this in the roughness is going to be dark so there's going to be pretty shiny whoops ah damnit did I I included the UV in that paste schoolboy error come on hide the UV and turn everything back on just to copy and paste there so I want all these base color layers so ctrl shift eh no was it ctrl a donut ctrl a ctrl shift C control V there we go and then I could just flight my base color turn all these adjustment layers back on so that that would be our roughness so dark areas are shiny pretty much and I'm gonna be cheap with this again I'm now going to do ctrl a and then ctrl shift C and control V into my metallic channel and because I want the opposite of roughness I'm going to flip this so I'm going to invert this so that means the lighter bits are going to be shiny and the dark bits are going to be non metallic and I'm going to add curves because I want to accentuate this great great and for the yeah because I want to be quick I'm I'm gonna leave any other channels for the moment so we'll just do those three so we've got Roth base color roughness and metallic so I'm just gonna save these out let's do TIF I'm just going to do a bit TIF so when you're saving as a tiff you can turn off layers just save as copy and this will be lantern underscore I'm looking at the metallic channel now so metallic what if cool because everything's grouped then then I can just you know manage it easier so let's do a TIF again and this will be roughness so lantern school roughness dot TIF godammit I included the layers discard layers save a copy fine it's just about saving memory I don't want to make textures that are unnecessarily large so save as copy and this is our base cut down Photoshop it's making noises I can aid Atlanta I'm just go base color basically dot tip cool turn off flares cool great yeah yeah let's go so you quickly jump back into photoshop into Maya can't think and I need to I need a light so let's go Arnold lights let's put a sky dome cool and I'll put color I'll just find find one that I've used recently I think I got this from HDRI Haven so current Lempa I'm going to sign new material so assigned new material go to Arnold tab go to shader let's go to AI standard its name this - lantern shader and let's open up the hypershade and I'm going to select in and output connections on this okay so for color looks loading that base color that we just saved the gray name name your textures when you bring them in it's going to get confusing otherwise I hate seeing scenes that just have a million textures that are called file so the roughness tab load in the file roughness change the filename to roughness underscore map wears metallic metalness that's what it's called let's load in the metallic map we just made cool we didn't make specular map but let's see how this turns out metallic I think the roughness map will have some of the information that we could use for a bump map so although we haven't created a bump map we could possibly just hijack this and use it you know so it saves time and effort by default when you put in a roughness map and metallic our normal looks for an alpha and you get an alpha when you've got a 32-bit texture so if you're texturing and Mari and your exports a 32-bit if you're working in 32 bits you will probably get an alpha with that in this instance we don't so this is out Photoshop so we just have some 8-bit cheap-ass image comprised of Google images so what that means is we need some sort of float value so we can get this this information from just using a single color channel because this has no alpha so if I render this there's going to be zero roughness same applies for metallic Arnold goes straight into the Alpha and it will find nothing there is nothing for it there so the lantern let's just see how that looks just minimized hypershade has that been applied I've got the land to shade it's saying I've got two shaders on that so it's weird I'm gonna go to remove unnecessary shaders go to edit delete unused nodes and to be all by type shading groups materials I'll share I didn't apply that flip in idiot it's what you get when you work too fast AI standard so I'll just drop in a new shader that is applied to the object and so it's there so now I'll call this again Lansing unschool shado and let's go base color get a middle mouse drop into the shader you could do this as well then I want the Pelt our color to go into is that a rough night yeah roughness map no specular roughness what we doing that's why I was confused for a second and the metalness we were on the out our color to go to the meta mess cool cool cool right you do get a sample in the top right hand corner of the hype shape but I would I wouldn't trust it lies okay let's render this mofo my computer's just thinking about it it popped up with a little box because by default it likes to convert the textures into TX files which work better in Arnold but T X's have their own issues as well so I didn't actually color correct the dirt so that's an eye balls so my HDR my sky dome I mean I'm gonna change the exposure to minus down don't change the intensity that looks fine for like the amount of time that was put into it a few minutes it's a good starting point so you can see in my color my texture from textures calm this base color because in the metallic map we were making in the majority of it white apart from these flecks these flecks of rust stuff that was on the picture so we've color corrected the picture to give us the information we want so that's not too bad and you can see the dirts being placed in the right sort of position if we look in the UV editor and turn on the texture mode let's take a look UV editor texture this picture one that should be loading from the shader or is it this one what is this one doing there we go so it displays our texture in there the base color one with our UV so that's pretty useful let's just take a look at the top so I'll render the top so you can see some of the bits that was we could actually try and work out exactly what bits were done but you can see so that probably needs to be pulled back but this fading off there that's worked that's worked pretty well and let's take a look at this interior section so some of these bits have different UV size which means that the resolution is obviously going to be lower and higher in certain bits the mud texture has no blending mode on as well so it's very notes pool and the map for metallic we can certainly push that a bit more although I have dimmed down the light so yeah this much definitely needs a blending mode and I've lowered the intensity of the light so if I recently exposure then we'll see how shiny this actually is yeah it's all quite Lowrance so you know this was all done pretty quick so the UVs could probably be laid out better like we can see where they should probably be more information as well but this is being used for quite far away in the scene so even further away than that so we'll probably see this asset like there so it depends how much you want to care in terms of how much work you put into the asset but for literally a few minutes work I think that's that's fine but there certainly could be some more love put into that but that's a really quick example of texturing in Photoshop so doing the UVs laying them out in a nice understandable way and then texturing them in Photoshop you

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Keywords: tutorial, animation, 3d, vfx, visual, effects, learning, substance, painter, maya, nuke, film, tv, painting, keyframe, raycast, fx, greenscreen, comp, render, arnold, autodesk, mantra, houdini, modeling, modelling, texturing, sculpt, sculpting, rendering, compositing, cgi, commercials, 3danimation, uv, unwrapping, boolean, bevel, gobo, edge, loop, extrude, effect, texture, games, design, graphics, making, after, motion, pftrack, 3de, equalizer, 2015, 2020, free, training, flipped, normals, pluralsight, digital, tutors, gnomon, legacy, camera, c4d, corridor

Id: 0C6FyaB4i_A

Length: 42min 17sec (2537 seconds)

Published: Fri May 01 2020