 Okay, hello, hello everybody I'll try to get through this as quickly as possible cos there's a lot of very good talks on today and I'm sure we want to get ourselves between here and the other theatre and so on I also just run in a little bit behind but I'll try and again to talk a little bit quicker but not so much so that it all becomes a scrambled mess So, this is a talk about modern game texturing and this is a game that I'm working on ac efallai lle rydyn ni'n golygu am y diolch. Roedd ymddorol neglaed yma yn tynnu'r bobl yn gweithio'r sall, yn cyfraffi'r dal, mae'n cael ei wneud eich gwirio gwiord. Be gyn…nau, mae'n rwyda yn ystafell. Yn gyllewch, mae'n cyfraffi'r mater 그il mycket. Roedd yma'r sydd wedi gwneud y trafn agorau maes ddefnyddio. O bwysig, mae'r ddefnyddio'r brif cofnod o'u mynd o'r presoedd on a'r dysgu a'r dysgu? gan gweithio'r tectrion, ac dywedwch ar y prysgwr ar gael y gallu oed. Fy gwrth yw'r rhodd yn ymgyrch yn gweithio'r cyfrannu gweithio, a mae'r cyfrannu i gyd yn gweithio arall y gwybod. Felly mae'r holl y pryd yn gyflawni'r bywydol i ddweud o'r modd yn y cyfrannu gweithio. Felly, mae'r holl yw'r holl yw'r holl yn cyfrannu gweithio. Felly mae'r holl yw'r holl yn gweithio'r tectrion o'r holl yn gweithio'r holl yw. Felly, ydych chi'n ddysgu'n... y dyfodol yn ymweld yma eich ffordd argymau, yw'n ddysgu'n gwneud y ceishaf, ychydig yn ystod, yn Albedo, ac yn y ffyrdd yw'r gweithio'r blynedd, ydw y gallwn yn bwysig, ddysgu'n fynd ychydig yn ymweld yr yfodol, mae'r meddwl, yn ei ffyrdd, mae'r ffyrdd yn ei ffyrdd yn blynedd, ac yna'r yfodol yn ffyrdd, mae'r yfodol yn ffyrdd yn ffyrdd, achos yn gweithio'r mysblau yn gyflไม o'r gwriol i'r mysbl. Rydw i rôl cefnogi mewn mewn Rhys i'r ysgrifennu Cg I. Felly, yn dweud fod ymateb fod ddwy i'r ysgrifennu cwysig a fyddwch wedi'u'r ffryd yma. Diolch am yma rydw i'r cyflym ond, ac mae nhw'n rhai rhywbeth edrych e'n mysbu. Ac rwy'n lle o'n meddwl ar y cyfrolygiad, rwy'n meddwl gynnig gyda'r rhan o'r perrwyfyrhau i'w ffordd o'n meddwl, oherwydd onda'r bod y tyfu yn ôl ond rwy'n meddwl y magig. Rwy'n meddwl gysylltu'n gwerthwyng ddweud o'r llanfaenwyr, a'r llanfaenwyr eimbrindig, a'r llyfrfwng ar gyfer y hollfast時en o'n ffordd ac'r llanfaenwyr. Ond byw'n meddwl fel ychydig i mewn eimbrindig, ac mae'n i gyrdingwyr ffalu o'r llanfaenwyr mae'r rhaglen yn rhoi adael, Google are also got an example of those things coming together. So this is a basic stone texture and you can see the little cracks and so on that appearance on that texture are the ones from the cracks or node that you just saw and that's kind of just an example and bringing it all together. By and so this is kind of tiling texture on the ground there and the object with the magic magic texture manipulation and like the stone texture and so on being ynglyniat hwn o roedd o'r profeon. Dyna, rwyf wedi'u gael ei blynedd wedi'i'r cwlad chael, lle mae'n bwyd yn maen nhw'n gweithio. Rwy'n credu fe gŵraniau gwahau a'r corffos fath o'r bwyd angen a'r bwyd yn maen nhw i'n bwyd. Dyma yna, rwyf wedi'i gweithio eu cwlau am ymddian nhw, sy'n ffordd hwych ffugir, sy'n gael atrwyddwag gyda'r bandwyr yn frysgwn cwilau intervalig, ac mae'n rhan o beth o gion gyda'r lego, ond o'r marfod o leol, ac mae'n gweithio'r amser o'r ddweud. Ac yna'n gwybod, y bydd y texgerau. Y cyfnod ymlaen o... Yn ymwneud ychydig o'r tutorial, bydd yw'r Master Cigol. Yn ymddangos eich gweithio, ydych chi'n gwneud o'r gweithio'r gweithio'r gweithio. Yna'n ymweithio'r gweithio, because you want to be able to control the beval amount and so on, so we will take a little look at that. I mean we can pass that in, manipulate it a bit, get some more realistic effect out of it. Also we have got what I was saying about being able to procedurally generate things. You have these various different papers on the left and you have got these bags that are on the right. These are all very, very quick simulations and then you can render them out, get them as decals, so that is just an alpha channel around there. i wneud o'r wael i'n gweithio'n gwahyddiol. Roeddwn ni'n grwp, ac mae gennym ei bod yn y gweithio. I fod rwy'n gweithio ond fyddwch i'w medru. Yw'r adeiladau adeiladau ar y cyfnod, ar hynny'n argylchedd a'r adeiladau ar y cyfnod yw'r adeiladau, ac mae'n cyfeirio'r ysgol yn y dda o'r adeiladau ar y cyfnod, rydyn ni'n gweld i'n adeiladau ar y cyfnod. Ac mae'n adeiladau o'r adeiladau, oedd yn felch a'r grongi, bobl am y gwirioneddau sydd wedi'i gweithio'r ffordd, a'r hyn yn beth yw'r cyflwynt ymlaen, a'r ddweud yn ymdegol, felly mae'r gweithio ar fawr, a'r ddweud yn ddigon o'r cyflwynt, ac maen nhw'n gweithio'r ddweud y gallwn. Maen nhw'n cael ei bod ni'n bryd yn ychydig ymweld a'r cyfwyrdd o'r cyflwynt, ac mae'n cael ei ddweud ymweld a'r cyflwynt o'r cyflwynt o'r cyflwynt o'r cyflwynt, gyda'r ymddiad, y rwyfnus, y cyfrifiad, y metall ac mae'r ysgwrdd yma yn y cychwyn, felly mae'n gŵr gyda'r ymddiad o'r cyfrifiad ymddiad yn ymddiad. Felly mae'n bwysig o'r cyfrifiad o'r cyfrifiad o'r cyfrifiad. Felly mae'n bwysig o'r cyfrifiad o'r cyfrifiad o'r cyfrifiad o'r cyfrifiad. A i gyda e recollid ac yn ddorifeth eich cyfrifiad o'r cyfrifiad o'r cyfrifiad, mae'r cyfrifiad hefyd a'i osgyffordd a'r cyfrifiad a'i d Zeus ボw'r cyfrifiad. Ac ho поверхn me'n cael stream gyda llaen o'r rhaid iddyn nhw i gyda framing iddyn nhw mewn. Rhaid iddyn yna an calfship CDiem duellur, ti'n ddech chi mennym. Felly mae hynny dda y wentlyf ein bodais dim aepridiadLAUGHS adjour een ddechrau. Beth hwnnaw fod ni'n esbydwyd. Ychwanegwch maen nhw yw ddechrau'r ddweud. Gwyddoeth spynEE is a gwwyddo'r ddweud. Rydych chi'n ymdweud â dda. Mae ei ddweud yn ni ar y cerddwyrfeydd. Rwy'n ddweud mae yma.. Rwy'n ddweud hynny? Ychwanegwch ddweud gan eich cerddwyr wahanol. Mae yn MYTH- induli. Oni eich cerddwyrfeydd hynny'n ddweud. Mae yna y gallwn yn ddweud yma yma yn iddo. Mae chef i'r olygu. So we're going to basically use this gradient texture to blend between two noise textures, and that will hopefully remove our horizontal seam, and then we're going to do the same for the vertical. So let's just step through this. So what I've got on this now is we have the second mapping node at the bottom is basically the key there. So we have a set to, the mapping node is set to 1. So basically what the 0 to 1 range is talking about is you've got 0 on the left hand side of the model, ac rydyn ni'n ddifenu hefyd, nid mynd i'r ddod i'i lawer, nid i'r ddod i'r ddod i ymrhoo ni allan ar y ddod, oeddi'r reddell hynny i ddod eich arno. Ac iddyn ni'n edrych ar y ddod yn ddcydd uponiall o'r rhaid, ac iddo i'r ddod erioed. Rhyw i'r ddod i'r ddod i'r ddod i ddod i'r ddod i'r ddod i'r byd o'r ddod i'r ddod i'r ddod i'r byd da'n iawn yn jionio'n biwyr ac mae'n ddod. Dwi'n cael hwn yn gweinol… Yn rheidio, rwy'n cael ymdaint. Yn gwrdd – rwy'n rhaid i'n gweithio efo'r hynny'n nowa mwy o astudio hynny'n… dyna nes fydd hwn invitedg mai ni'n golygu. Rwy'n gweithio, rwy'n gweithio'n mynd i gyd yma. Rydym yn rhoi'r ffordd. Wrth gwrs o'n ddiddio hynny'n han wrth gyfwyr… Rwy'n gweithio. Ydw wedi bod… Goheavy! Right okay, maybe this is helpful then. Let's see? Okay. Cool. Is that all right? The clear indication of this then, I hope, we are not on the right slide though. So let's go to, Mae'r pwylwyr eich lŵr yn gyntaf. Yn mynd i. Yna, mae yna, mae'n ganddo i'r ffrannu. Gwyddo i ddim yn ei wneud. O'r rhanau hynny? Mae'r rhanau. Rwy'n gweud yna'r mixnodau o'r gydag eich wneud, oedd yn adrofiadio'r grafiau gwneud. Mae'n gweithio. Rwy'n gweithio yna. Mae'n gweithio. Mae'n gweithio'n gweithio. Let's see, going to the moment, do you apologise? Ah, there we go. So then what we want to do is basically duplicate those same two noise textures, move them all the way down and have them still be informed as the same gradient as we were looking at before. But you'll notice the mapping has been changed. So now instead of it going blending sort of the noise from horizontally, I'm still blending it horizontally but I'm doing the position of that noise one unit above. And then beyond that, we're then going to take one last thing at the bottom which is going to allow us to basically set a new gradient but instead of the gradient going horizontally, it's going to go vertically and that's what this is about to try and load in. And this is going to be too slow, isn't it, for us? Ah, let's see. Ah, sorry. So yeah, so this is going to be like a, I should probably, is there any way to go into the presentation itself and actually zoom in? F5. And then if you go through to here, you have that. And can you zoom in on this? Right. Oh dear. Let me see. Is there any way to move what is shown on there in presentation mode? Yeah. Yeah. Okay, well, I'll just try and sort of put in as much filler as possible then. So we're going to mix together those again with that final gradient which is being the vertical gradient which you can see here. And then, as I say at the bottom, you can see the values of the mapping node is 1 and 90 degrees just to sort of basically rotate it around so that we're getting it from black to white down to the bottom. And then that is what is informing a final mix node which is just off the screen there. And it's just basically simple mix node and the factor is driven by that gradient. So as soon as you have that, all we want to do really is just basically put it into some sort of organisation. So the noise value needs to be the same on every single noise texture. So that's why I've created this one input texture, this input value. And that's going to drive the scale of all these other ones. And then we have two more reroute nodes and we're just going to kind of plug them in. And that's going to make it easy for when we just create the group and it just collapses it in. And then you can just sort of rename it to whatever you want and then just click on the F to save it for future iterations. Once you've got that, you can then use that for informing the vector. If you have ever seen distorting of textures done in the vector, that's something that can be done on there as well. So now we're going to take a look at doing that tidalable Voronoi cracks. And what we're going to do is basically that's just a plane. And there's another object in the scene, which is just a single vert. And that's very easy to create. I mean, you can just take a regular plane and just collapse all the verts into one position, just alt M and then merge at the centre. And then this is basically got a particle system. We have over here, we've actually got 100 number, the emission number is 100. And then basically you want them all to appear at the same time, which is, this is scene one. So we're starting on an ending on frame one, a little bit further down, we've got the physics. So we don't really need any physics. I just need them to appear on the plane there. So I've turned that off. And then a little bit further down towards the emitter settings, it's set to object down here. And the object that it's being used is that single vert object. And now at this point, we basically want to what you get from that, you want to then apply that particle system. So you go over to the modifiers tab, you hit on the apply, that's going to create a whole load of however many you've set of those points, those single verts, and it's going to create a load of objects. You want to join them all together. So you're just working with one bit. And then whilst in edit mode of that, you can select them all, copy them, move them over exactly two units on x, and then copy the what's on that top row there and go and duplicate that again, and then move that down to units. And so you have something which is basically if you put the camera in the middle of that, it's going to tile. So also note that that large face there in the background is just needed to give the cell fracture something to work with, but you need that to expand beyond the verts. This is the cell fracture settings. Thank goodness I've decided to put some on the left for a change. You've got it's basically these are the settings you're going to need. You're going to need it to do it instead of using say own particles or the child verse or whatever, you want these own verts. And this is why we're not using particles in this case because we needed to have the verts all in that quad those four quadrants because the particles otherwise would be just completely randomly arranged on the plane. So with that, you want the source limit to be beyond beyond the amount of verse that you're using. So I was using about 100 or so in the emission number. So it's four times 100 plus the four that were of the making up that kind of boundary plane. We definitely don't want any noise because that's just going to ruin the placement of what we've done. The reason that we're trying to get things to tile recursion, same reason we want to turn that off. We can always do some recursion afterwards. And then also we want to turn off the apply split edge. So those are otherwise the default settings that you have. And it's going to stick everything on the next layer, which is fine. So that's the result. And you might be able to notice that that actually does tile. You can sort of see like a dense area here, here, here and here. And then you what you can do is select an in kind of a central part of it right in the middle there and just make sure that that does tile. So you can see kind of maybe this piece here is if you were to copy them all over, you can kind of see that's equivalent here. So that piece there is the same as that piece. And you can kind of just keep on selecting. So you kind of realise, yeah, I've got everything in the middle there. And then we can copy them to another layer or just clean it all up and just delete everything else and then set up the camera. The key thing with this camera here is that it's got to be set to orthographic. So I have a nice little properties window on the screen here, which says you've got the options at the top perspective, orthographic and panoramic. You want the orthographic option and the orthographic scale to be set to the amount of blender units you want to encompass within the camera you're looking through, which we can see in this 3D view. And that's set to two, as I say. And so you can see one, so from zero, one and two units wide. And then that just makes it easy for my numerical, non-numerical brain, I guess. So you've got just a simple two units to work with. And then once we've got that, we can kind of place it up in the corner. So just up one unit, aside one unit. And then you want to basically create the others. I mean, I've done this as instances. So this is an alt D duplication, GX2 over to the right hand side. And then those two, alt D again. And then Y, negative two just to move it down to here. And then they are perfectly into position. So the camera's looking right on. And then these cracks here now are going to be tiling. The thing is I've actually switched to the map cap view for the normal map there and then turned off ambient occlusion. Just make sure ambient occlusion is off because that kind of wrecks the, I mean, I've looked at a lot of normal maps and you kind of come to kind of, it freaks you out if you see lighting information on one. So just kind of keep that off. And then I have a bevel modifier here, which is just essentially what I'm doing is trying to get as wide a bevel as possible with this bevel modifier, which is slightly off screen. But so it's just about bevel modifier. The width is 0.01. And the key thing here is to turn off the clamp overlap because the sum of the geometry you get from the self fracture is a little bit messy, and it doesn't maybe work perfectly. But I've noticed that it actually does work most of the time for this kind of method. So just bang through it with 0.01, clamp overlap turned off, and then basically set it to angle and then say maybe just the default of 30 is fine. And so you get this kind of result. But we want to basically copy that to the rest of them. So just control L to just link the modifiers with the main one that we've done as the active object. So that'll just copy whatever settings you do to that. And then it just copies it through the other ones. And we're getting this nice bevel. So next we're going to talk about the texture passes and especially the Z depth and the normal pass. So this is the scenes tab now in the node editor. And we're using the nodes as you can see there. And this is a whole bunch of passes that I tend to enable to be able to get the kind of textures that I need. The key ones here, you know, you've got things like Z and normal ambient occlusion, mist as well for another type of Z pass basically a height pass in other words. And then you've got the emit and the diffuse colour. So sometimes I'll be using the emit, sometimes I'll be using the diffuse instead. So I just kind of tend to enable all of those. And that gives me everything that I need. So I'm assuming that you know how to do that because it's close off. But if not, it's in the properties window scenes tab, the layers tabs, excuse me, the second one along. And then you get the Z mist normal passes that you can enable there and the diffuse colour ambient occlusion emission in there. So if we take a look here, you can see I'm coming out of the alpha channel. And if you want the alpha channel to basically show up, you're going to need to do one more thing, which is to go to the render tab, which is the first one in that properties window, the little camera icon, come down to the bottom there under the film section. And you'll notice that there was a little film, a transparent checkbox, you want to enable that and then you'll be able to get a decent alpha channel out of it. So this is the normal map. And that's comically cut off of where it says, meaning that's not really what we were expecting in terms of tangent space normal map. So we're going to need to correct that. And the way that we would do this, we can basically debug it by just essentially putting a sphere into it and then re-rendering. And then what we can do is start breaking that down by taking the normal pass into a separate RGB node. And then you can see here that's basically what the R channel is doing. This is what the green channel is doing. So it's going up and down. And this is what the blue channel is doing. So it's going straight down. Now, luckily, that is a normal map. That is what a normal map should represent the red channels side to side, green channels up and down, and the blue channel is the depth information. So we need to basically correct what's going on here because obviously it's only start, we need it to start from the left hand side of the sphere black and then be white on the other side of the sphere and have it be a linear gradient across. So basically this is the image editor. And I'm just enabled the viewer node as to what to look at here. And on the left hand side you can, can you see? Yeah, down here it's a value of minus 12.6698. So that isn't really what we're looking for. We're looking for black there. And but in the middle it is actually zero. And on the right hand side it is actually one. And if we basically just add a math node set to add and just add a value of one to that, this is the result that we get instead. So this little red dot represents the sample value that I've got. And this is now basically black. So that's essentially, that's what we want. The problem is, as you can see, the middle is now one. And we don't want that to be the middle. We want it to be the far right hand side. So if you basically just stretch that out by half, like multiply that by half, you're going to get it to be twice as long. So now you can see that on the right hand side there's basically one. It's just my inaccurate mouse points in that it didn't get to exactly one. So the good news is we can just do that with all channels. So instead of using math nodes now, I'm just using the color mix nodes. So the color mix nodes set to add, and we're just adding white to all three channels in one go there. And the multiply node is just set to 0.5. So you're going to multiply 0.5 and you basically get this. I realise that isn't quite right just at the moment. The other note to mention about that is that this is RGB 0.5 rather than it being HSV. If you do HSV 0.5, that won't work. It's got to be RGB. And then the only other thing that we need to do is just correct for the gamma. So once you put 2.2 in there for the gamma, you basically get your render result here now is much more equivalent or basically the same as what you would expect a normal map to be. So now you can set the resolution and we can always get the normal map that we need looking from the camera going straight down. All I've done there now is just add a frame with shift P over the nodes that are basically creating our normal map for us. And then this, what we're seeing here in the viewer node is just the ambient occlusion. Now that's really simple. That's just a really straightforward pass to render. Just enable it and we've got it. The Z, not as straightforward. It just looks like a pure white image, but clearly it's not. It's just, there's far more detail there that can be represented on screen just in its native format. So what we're going to need there is just a map value node and then also note that this camera is four units high. And what we're going to do then is just essentially correct for that in the map value node. So you can see the offset there is just slightly more than negative 4.04 just to bring it up a bit and then essentially we're just scaling it right down. So minus 25 to just kind of get it into something which is more relevant for us. The problem with this though is it's kind of a bit aliased and you tend to get that for very cavernous changes in height, precipitous changes in height I should say. But the missed node seems to be a little bit more forgiving. To be honest, I probably could have just created a plane at the back of that alpha channel and these depth would probably work fine I think. Anyway, the way that I tend to correct for this anyway is just use the missed pass and then that gives us sort of an inverted height so we can just add a colour ramp and just hit the double arrows there to flip it and now we're basically getting it. The thing is that's not quite the right value as I was quite close by default but I want to basically shift that. So in the camera properties in the properties window which is again, it's cut off, you can set to display the missed and that's what this little thing is down here and if you set the missed settings, I think in this case they're set to 3.99 and 0.08 so is it 3.99 is just slightly before four units away from the camera and then this is now 0.08 units long. We don't quite want that because the the result isn't brilliant but I mean this is just demonstrating that that's what the settings were. If we actually change it instead to just start exactly on top so four and then just make shrink it even further so 0.04 and set the fall off to the missed to be linear which is the settings directly underneath then that basically works for you. So then we've got a decent height map that we can take out of it should you want to do some decent texture blending based on height we can take that as the mix factor. All I've done here now is essentially organise things a little bit more so I've just hit shift P around the reroute node to do ambient occlusion and then the normal is up here now the z depth is just there so I'm just using these three also of set viewer nodes depending on which one you click on gives you your render pass that is viewing in the viewer node and then one last thing is just doing an alpha over because basically I only rendered the parts of the cracks the mesh parts we want to actually alpha over something so I've just alpha overed a flat blue normal colour which is 0.5 red 0.5 green one blue and then if you put that before the gamma node everything should work out on the normal map. The only other thing we need to know about is basically saving out those maps what would we need to do so you can go over to the image save as image and then just remember to whether you're doing alpha settings there we want RGBA if it's alpha and then usually for height stuff you want to use 16 bit at least so again this is tile in so that's just the texture this time this is the image texture for the height and instead of using four separate planes I've actually just set the scaling to two just to shortcut that basically and now I've just created a little sun lamp there and set it to a strength of three just a simple plane just to show it going into the bump node of a diffuse map diffuse shader rather and you can see essentially we're getting the nice bumpy details in there that we just created and there's no artifacts or banding or anything the normal map again just set that to normal non-color data to be able to get that to create it to show correctly in the viewport that's going into a normal map vector node instead of a bump node this time and we're just going through to another diffuse shader the problem is you notice that it actually looks a lot more softer than this one so I tend to go through and then just set the bump value to half strength and it kind of looks a lot more equivalent to hey how your normal map bakes are going to be so you can bear that in mind when you've got elaborate nodal systems in your textures and then you kind of render them out thinking the normal is going to be exactly the same maybe you want to represent that in the viewport with half strength as I say so something else that we can do with this is actually alter the bevel distance on the fly now do I just use a color ramp so you can see the bevel distance is actually a lot smaller by just tucking in the color ramp and then you can reverse it by just bringing it the other way and now you get a larger separation of cracks and this is kind of in I mean important because if we take our titleable noise now we can plug that in so this is just an updated version of that titleable noise just really simple like color and boranoid just coming out of it and then if you take the mapping text the the coordinates plug that into the titleable node the noise as a vector and then come out of this into just a color mix node you basically going to get going to add a teeny tiny bit of distortion to the vector and that's what ends up informing the position of all the information on the texture map in the viewport which is great for much more natural looking stuff so you could combine that with larger scale noise and combine that with the smallest kind of like in general art you would have large shapes medium shapes and there may be some sort of high frequency detail in there in certain places so what I've done here is just created some extra nodes and duplicated and moved them down so another titleable noise another color ramp well a color ramp in this case and then that's going to get plugged into the add of the image itself just to mask out some places of the cracks the noise itself actually looks like that so we're just going to add the white to the bump map which creates this as the bump map that is now being plugged in and then basically going to get a variation in height across the surface and then you can render that out and that's kind of like if you're doing tarmacs and stuff like that which I was doing cracks like that are very important and but you don't want them to be really angular and flat all the time sort of just connecting as they do sort of very procedurally you want them to have slight wave to it and things like that and then you can so you can achieve that with the titleable noise that we've already covered so also what I wanted to take a look at is just some of the very procedural very I mean I realize I'm explaining this so it seems maybe like a text longer than it really does it's you can bang through it extremely fast but you can kind of get in a plane in this case set it to be collision which we can't quite see there so in the physics tab in the properties window you have collision you can just enable that and then that's really all you need to do what we need to do then really is create the what we're going to squash or create so this let's say this is a piece of paper now so I've created another plane unwrapped it simple unwrap I've subdivided it obviously and now what we want to do is create a solidify modifier the reason the solidify modifier is on there is because when the paper falls and it crumples and it kind of falls on you kind of get the other side of the paper and this kind of gives you a kind of a bit more realistic feedback in the viewport when you run it and also then I've got a subsurf modifier just to add as much geometry as possible for which to create a decent simulation so what we're going to do then is in the physics tab you want to enable the soft body which is slightly off and then I've just in the viewport there I've just enabled ambient occlusion just to see a little bit how it's kind of into playing with it within itself so soft body settings here that I've used really just completely default if you do that though you'll notice that it just hangs in the air and what you don't so you don't want that what you want to do is just turn off the soft body goal that's what's basically causing it to just hang in the air as soon as you turn that off it just collapses down onto the collision and everything is great but it just looks a little bit flat and squashed because it's not basically taking consideration of itself and that's what we need so as soon as you enable the soft body collision the self collision you get a much nicer result so the only thing that we need to do then is essentially make a duplicate in case you want to come back to tweak the settings which is a lot of fun to do with just physics stuff and then we're just going to duplicate it then what we do is in the physics we can in the modifier tab we want to apply that soft cloth so we just got a model then and then essentially move it out of the way so that we can actually just work on this and then the way I tend to work on this now I want a much more crumpled rather than soft looking thing so after the first subsurf we decimate it we triangulate the decimation and then take the ratio right down so this is 0.07 and it removes almost all the edges so you get kind of edges which go along kind of diagonal lines and stuff and you get kind of a much more crumpled view also you can tab into the geometry itself just get all the border edges there hit shift E and then crease them all to one so that the subsurf modifier is basically going to kind of create nice sharp edges all around the the paper in this case and then I tend to do another subsurf after that which is going to be set to two in this case which you can't quite see and then set to a simple algorithm rather than a catmol plaque which will kind of end up undoing some of that work that we've done so we get a bit more angular a bit more crumpled looking thing to it the last thing to do is just set the origin to geometry with shift control alt C and then apply the rotation and scale and then in this case in the viewport we're just looking at the only only the render stuff I've enabled a matcap there with basically no specular on it just to get a good idea of how it's probably going to look and then also I've squished it down on the z axis so s z and then just squish that down a little bit more so it's like much more flattened this is just a basic grunge texture which is also procedurally generated in blender but I'll have to cover that another time it's just essentially the contrast is being reduced by just raising the black level to being mid grey and then that's just going into a diffuse shader and we can kind of see what's happening there also by the way I've created this extra UV map dot print so that we can just take that extra UV map and then essentially place that over a kind of an image texture that you might have got some some stuff that I got from online in that case and then just essentially have the image texture be informed by the UV map node where you can inform it that image to be placed by that particular UV map so in this case UV map dot print and then that is just being added together with the other grunge so we could basically get something that looks a bit like this in the bottom left there so with this you want to be able to do some more crumpling so just randomly select some more edges and go shift E to do the creasing on that one and that kind of gives you a bit more like this and then just go through create some more this took me about 10 minutes just most of that just playing around really so you got the larger versions which look much more like cloth and sort of rags and things like that which might be quite good for in a grunge scene but if you flatten them right down you kind of get a much more kind of you know paper cardboard squashed stuff like that which is going to be pretty good for that kind of thing so this is them for the particle system these are the planes on the left the bags on the right has two separate particle systems and that's what goes into here to create that thing so we've got the same again which is the this is a wireframe version so you can see again it's just four planes in those four quadrants same particle system with each make sure the seeds are all exactly the same and that they're using the same modifiers on everything and then it should tile if you put the camera in the middle of that it tiles this is two particle systems so particle system one is the the the bags I guess and then the other one is the paper and then you can get different settings for each if you want to be able to do them at different points so and again instead of just using the single verte object that we used before to create the tileable Voronoi cracks it's basically the same kind of thing I realize it again it's cut off slightly but down here under the emitter you want to set that to group and then the dupler group would be papers or the other particle system would be bags and then this is how the textures look kind of with given them all sort of basically very very simple stuff and then that's how it looks just taking a look at a basic diffusive sorry an emission of how that texture looks then if we move over to our setup that we had you have kind of the z depth the albedo with ambient occlusion and depth which is a scent again just to reiterate that's kind of basically the base color which is taking the emit to pass this time I've decided to use and then I'm multiplying that against the ambient occlusion straight out but I've also got a little ambient occlusion part there which is easy enough so my albedo is multiplied with the ambient occlusion and then I've just overlaid at just a tiny little bit of that z depth as well just to offer a little bit more depth to the albedo really because you don't want the game engine to kind of do too much it just seemed like that was what was required in this case also you'll note at the bottom here the normal this little green thing unreal engine the green channel is flipped so I've just created this little switch which essentially does exactly that in this little node here all it is is separate RGB node flip the I think it's just a one minus on the green channel and then re gather that together and then put it back into here as a as a flip very simple stuff but to be honest there's a checkbox for that in Unreal anyway which is what I would always tend to do because I'm so used to looking at normal maps without the green channel flipped it really messaged with my head to actually visualize that so I tend to not do that so here we have the that's what the ambient occlusion looks like on its own this is then then a emit pass just going into the viewer so that's what the emit on its own looks like so that's kind of like a really much more accurate albedo I guess but really I wanted to amplify that with the ambient occlusion and the give it some more depth with in so you can see it's not massively different of a scan between the two if you can just about see that you can see that crikey anyway so then we've got our normal map which basically looks a bit like that a little long vertically slither thing and then this is it in game so that's what you know taking those textures together that's what they look like in game the metallic this isn't metallic so the metallic is set to zero and the roughness is just using the red channel from the diffuse so you don't always have to generate those textures necessarily and this is an example of it in the game so you can kind of see up here this is the grunge sort of papers and card body type stuff that we've done it doing I've just multiplied it with just a noisy looking cloudy alpha channel and then painted that in in places in unreal but that's that's for another topic also you'll notice all these cracks on the tarmac by the way all created in exactly as we've been through just before so this brings us to pbr so the stuff in there was the way unreal engine is doing it that's on pbr and i'm going to go through this really quick this is essentially the result of that and again people can probably correct me but this is very very equivalent to how it seems to appear in unreal anyway at least in my test so it seems good enough in my case this is looking a little bit more complicated than it really is it's just this node group these are just got helpful hints and tips as to what to do about don't use extreme don't use zero and one because they're not realistic values and it usually looks weird and breaks things so basically this is the world map so again i've set this to transparent so which is why you're getting that checker pattern in the background and uh this is the world um nodes for the material and it's just a simple mapping node set to an environment texture not an image texture but an environment texture which is just downloaded from um these hgri labs or something like that and then plugged into the background that's set to three but i think i'd do actually most of the tests on one coming up so unplugged all the textures so we've basically just got nothing going into the normal really black near black roughness and near white albedo and zero metalness this is kind of like the effect that we get i think you'll be able to just about work this out but the there's other things online actually there's a really good youtube channel by cinecap pro i think it is he explores a lot of pbr stuff this isn't really going in as detail as this um this is basically he's going on about the fresnel aspect of it which probably should be incorporated but in a typical setting for this anyway i'm really just talking about the pbr in terms of the the preservation of light so in other words when we set something in so this is very very low um 0.05 on the value here i'm used to using a just setting that on the hsv to 0.05 and basically we've got a white highlight down here coming from the reflection map we want that basically to spread out and kind of get a bit dimmer that's kind of what i mean by pbr so that's what we want to do we want to take that and then up it to 0.1 0.2 0.3 on all the way up and you can see what i mean by it kind of spreading out a little bit and that's kind of the effect that we're looking for so and again just testing the other thing you've got the albedo which is a bit orange and then uh that's very very it's quite smooth it's kind of like half roughness really and then uh you've got the metalness is set to zero but if you set the metalness to one you kind of get these kinds of colors so you kind of get the the reflectivity is informed by the albedo color which is kind of how it works in on real engine anyway so how to set this up so the typical setting diffuse shader glossy shader needed to be mixed into a mixed shader that's really really straightforward stuff um now what we want is a value which is going to control the roughness and uh if you think about the roughness for the glossy so how rough something is for the glossy roughness is going to basically take it from being a mirror shine at zero to being a much more broad uh kind of uh you know rough uh surface and therefore that all the highlights are going to be spread out um the thing is we need to switch these up around in the mixed shader because the factor the more rough something gets the more it wants to show its diffuse color if you see what i mean so the the the value that is in here so when we've got a value of one we're basically saying it's completely rough so therefore please show me the diffuse color basically and that's the pbr in a nutshell so once we've got that um we want to then be able to uh let's see um create a rgb color thing that's just standing in for a texture right now so that's kind of nearly bright white and that wants to inform both the diffuse color and the glossy color and this is the crucial bit for getting something which is kind of helpful for converting stuff into unreal and uh so but we don't want it to color the reflection so i'm just using a color ramp node there just before it goes into the glossy to essentially just remap everything to black to white so whatever happens to be in there and then uh i've created a normal um uh sort of reroute node which is just plugging into the normal so um depend on whether you're using a normal map vector mode uh node or a bump node that would then plug into this so that's just going into the normal sockets of both and uh then i've just duplicated the color ramp glossy and mixed shader down uh and just they're all muted at the moment and this is going to prepare for the metalness so what i've done there now is uh basically we're now taking a look at the mixed shader again and but we've just deleted the the color ramp because we don't want to have um uh a black and white we don't want to have black and white specular for metals that's the main difference between metals and non metals so uh then we want to just add a mixed shader between the results of these so this is metal down here and this is non metals up here so we need to have an uh little value to control the metalness and that is basically it then all we need to do is add a few reroute nodes so that when we come to select everything with b and then uh press control g to put it into a group it doesn't create tons and tons of inputs for you so the problem with that is clearly that it's just called input input and that's input and then that's input so you need to be a little bit more helpful than that so if you tab into the group you'll see that we've got uh some opportunity to rename stuff there and the normal is gray at the moment as in the color isn't representative of what it actually is so i tend to i haven't done that here but i tend to just force it so i might delete that one and then take a normal map and then to plug it into this group the spare socket and then to kind of rejig things around so it just forces it into the right kind of thing then after that just rename it click the f so you save it and then that's it for that that's then coming back to the first slide where we basically just see uh the pbr stuff and that is again um an impression of how it then looks in uh unreal so you can see that kind of stone texture which again just simple things that we've covered the just particles of small very simple rocks um just sort of scattered across the surface and then um so this is blending via height as well so i've taken out the height map that we covered uh this has got cracks as a say in the diffuse that we've done and then it's basically just vertex blending between the two um textures that i've got this tarmac and this um stone rubbly type one and then also another thing to just create these puddles on top um then i just almost finished now this is just the last minute or so uh just taking that same thing you can just create a bunch of very very basic objects litter props basically and then just squash them down all that is is pretty much standard cloth simulations uh just break them down just run the simulation and then just as it starts to fold in on itself just stop it there and apply that and then move on to another one maybe angle it slightly different do the same thing and uh you can do that with loads of different things i was ended up with this so i just created a camera just pointing straight down at all this stuff and this is in blender internal so that gives me an opportunity to just mention briefly that we've got pbr coming to blender internal anyway or at least you know another option which you can select and that's going to be amazing when we do get that but we can get pretty far with the internal stuff anyway but as you can see there that's just the bakes so that that that isn't geometry anymore that's just a plane uh it's just a flat planes uh and then you these are the ones that i decided to use in game for now i'll probably add the the rest of them at some other point and so i just cut them up so there's not much space overdraw in the engine so you don't want too many areas of just blank alpha stacked on top of each other that's bad um and that's a it's sort of looking down on it in the game so you have these various different planes so that's just a plane uh these all these little litter things that are kind of interacting with the scene and stuff it's just a litter plane uh just a scattered amount of particles you can see again there's the the the two textures that we're blending and a little bit later on further up we've got things like the the water puddles and stuff like that it's you know it's kind of trivial really so these bags as well they're just by the way just cloth simulations done in about two minutes um so uh and then that actually brings us back to the start i think that's concluding and thank you very much for bearing with half the screen i'm not sure whether i'm supposed to be taking questions or whether it's time or sorry three minutes left three minutes left if anyone wants to i'm obviously here for the whole conference uh but if he's got any questions you can throw him at me now or later or whatever it's usually just because i've got the node wrangler add on enabled and so that means you can quickly go control shift on any of the nodes and that automatically hooks it up to an emission shader so if because of that sometimes i have them both done so if i forget i'm doing that i can kind of quickly go through and if but if i'm doing a diffuse shader because i wanted to look at how it was uh looking in terms of like oh look i've done the proper pbr setup i actually want to look at that uh and then i if i rendered then that would be all set up for doing the um diffuse color i would need to do that so it's just depending on what i might be debugging at the time but i mean i should say the roughness by the way is just just hook up the roughness to an emission shader hit render again and then you've got your roughness setting and then you've got your roughness map uh just plug that into the engine done no problem anything else cool thank you again thank you