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For metalness workflow, that would be metalness = 1 and color of the metal in the albedo. With a specular workflow, that would mean diffuse = 0 and color of the material goes in the spec map. Okay, so for a pure metal, that is to say no coating, oxidization, paint etc, the look color of the material comes entirely from the specular reflections, the diffuse would be 0% (black). Maybe remove the albedo map all together and just use a gloss and a spec map? I find this confusing, maybe black metal is an oxymoron and what black armor actually would need to be shiny is a clearcoat layer or some specular paint or something? If that's the case, is there a clearcoat option in marmoset?
#Pixplant metal workflow how to#
Just with a surface that has far more texture I just can't figure out how to do it correctly. I guess I want a material similar to this: And lowering or inverting the gloss map don't do anything, it either kills the spec or you get a similar result. Yes it's metal but it's not black metal, some of the blackness from the albedo map is shining through but not the amount I'm hoping for. So you expect a black and white gloss map to be enough to make something look very metal like and the albedo map to make the metal look black but that just seems to make the armor look like this. The rougher an object is the less light is refracted from the material and the spec map value should just stay at 0.5 because it's just used to determine the specular color. I'm pretty sure I understand the concept of how the maps work, what gloss or roughness is for example. It's just somewhat annoying to have to deal with and not something I've had to deal with for some time, hoped there was some faster way. I'm aware of the padding issue, I rebaked all my normal maps with extra padding and I suppose with the diffuse that's what the "fill" option is for when you export a map from some 3d texturing software. You also need to make sure there is enough space between your UV islands, so they don't bleed into each other when the textures mip map. Crank up the padding value when you do that. Padding is usually added to your normal, ao, etc when baking your textures from the high poly. Your two posts show drastically different materials, which makes me think you're not quite sure what you want to create.Īs far as seams when you zoom out, generally this means your maps do not have padding. Once you understand the fundamental concepts of how the texture maps work in a PBR system, you should research the material you're trying to create, find many images of that surface type and study how reflective it is, how glossy it is, etc. Here are a few articles I recommend on understanding PBR, material properties and specular/metalness workflows: Whether you're using the a spec or metalness map workflow doesn't make much difference, those are just different ways to store the same data.
#Pixplant metal workflow software#
Introduction to 3ds Max, Introduction to Photoshop, Introduction to PixPlant, Setting up Software and preferences,Max Interface, Tools and Setup, 3ds Max Basics, Workflow, Crate, Barrel, Table, Catapult, Castle Scene, Photoshop Interface, Tools and Setup, Photoshop Tutorials, Crate and Barrel Models – Advanced texturing, Digital Painting styles (5 ways), Seamless Textures (seamless and tilable), Texture reference starter set, 2d animation (complete coverage), weapon handgun classwork, weapon lab – extending ‘current’ game weapon (3d), vehicle (lancia) classwork, vehicle lab, perspective (1,2,3,4,5,6 and architectural rendering), weapon lab model sheet, figure study (proportions for body and face), figure study (torso, arm, leg, hand, foot), figure in motion, wrinkles and clothing (all major patterns), light and shade (all forms), rendering techniques and style, storyboard, panel work, layout and design, vehicle model sheet, splash page (comic style), character 3d classwork, character 3d lab, subdivision basics, subdivision lab, animation 3d principles, animation 3d tools, animation 3d ball bounce, animation 3d ball lab, animation cycles, character male rig and weight, textures (reference building), photoshop filter creation (10 texture creation videos), speed painting (7 speed paintings), mudbox painting, character lab – conceptual design, matte painting, architectural concepting (3ds max to photoshop), materials and shaders (complete listing), normal maps advanced – completely detailed, sub division advanced, mudbox software and tools, mudbox examples (techniques, tips and tricks), mentalray completely explained, mentalray scene project, mentalray scene lighting and rendering, unity application, programming basics, programming in JavaScript, unity Api (how to).Creating convincing metal really comes down to understanding the material properties.