 Okay, here we go. Let's bake some maps right right right right right right okay I Have here my low poly mesh. So first thing you need to do is click on that make sure that's selected change from your modeling menu set to your rendering menu set and then the tool we're looking for is in lighting and shading and It's called transfer maps. So let's give that a little clicky wonderful, right the first thing I'll do is Reset this so that we're looking at the same thing right so because We had this selected when we open the tool it's loaded this in under the target mesh and whenever you're baking Normal maps your low poly mesh will be the target mesh because that's the thing you're looking to keep So that one goes in there in the source mesh I'm just gonna hide that one and bring back the high poly mesh and just stop it being referenced a minute I can click on it and I'm going to Click on add selected so that is going to be where it sources the information from and I can just Reference that again and bring the The low poly back as well Well, then you need to choose what kind of map you're after and I want a normal map And we're gonna change some settings. So click on the little folder. I Do want it my source images folder. I'm gonna call it Sampled Normals and I don't want an alias pics format because that's stupid format I'm gonna use a target if you've watched any of my other videos You'll know that I feel passionately about the target format click on to you and then Yeah, so then you can choose between object or tangent space normals If your assets gonna be static Then apparently you can use object space if it might ever be animated in any way Then you need to use tangent space personally. I would say to you always use tangent space I can't see a reason that you would use object space if anybody knows what that reason is feel free to leave a comment But I'm all about the tangent space. So we'll leave that as it is this bit here Connect maps to a shader And connected to a new shader what that will do is once we've baked the normals It will assign it to a lamb that and that lamb that will be placed on the low poly mesh So it means we can preview the results straight away. So I'll leave that where it is And then the Maya common output Normally you probably wouldn't want too high of a texture resolution on a barrel But because it's the only thing that we're interested in we're gonna go fairly high We'll do a 1024 by 1024 map and the sampling quality will do at medium Which should be good enough for what we're doing Okay, so that's most of the settings done the only thing we need to look at is What's going to be captured within this bake to check that you've got for your low poly barrel back up at the top you've got This little display section At the moment it's displaying the mesh, which is the actual low poly mesh And there's another thing called an envelope, which is this pink thing here. I Would say it showed both but basically what you need to do if it might for you start off something low But you can say when it's at zero percent It's not Everything needs to be encapsulated within this search envelope because that's what's going to be included in your bake So you need to make sure that basically you can't see any gray. You can only see pink So in my case that appears to happen at 3.8. I'm quite happy with that so That's now set up. I'm happy with that so what we can do next is Bake it. Let me just check in here. Is that right? Am I happy with that? Yeah, that's all good. So what we'll do is click on bake and close What will happen now is that is sampling and baking the normal data into an image file and sending that to a shader So when that's finished, we'll have a look at the result Okay, so my baker's just finished and I thought I would wait and we would preview the results together I Feel that will bond more if we do it that way so So let's hide the high poly mesh. You can see this is the low poly mesh which is There it is So what we'll do is that materials already applied but because we aren't showing Textures, we can't see it so you can either click on this icon here Which is textured or you can press six on your keyboard, which is what I'm going to do and You'll say that that detail that we had on the the other mesh is now showing through on this one and Let's see what it's looking like on top so you can see that there are now lines where the planks that we put were Okay, I think so I've got a dirty black line at the bottom, which is probably because It maybe sticks out a little bit too far there Which I could fix in fact, I will fix it Let's see if we can fix that so I'm going to go back into the high poly and We're going to get Let's take it our reference. Okay edge. We're going to get these edges. I think That one that one and that one and we're just going to scale them in Like that, what's the top looking like? Yeah, the top's okay, so I've brought that in to hopefully get a cleaner bake So stick that back into reference And now what I can do is I'll just hide that perform the bake again But I should get some different results out of it. So let's see I don't know how different but hopefully slightly better. So lighting shading Transfer maps everything set up as before so we don't need to bother going through everything again We can just click on bacon clothes and not replace a normal map. We have so I'll see you in a sec fingers crossed It'll all be brilliant next Okay, so that baits finished. It's improved it a bit, but it's not perfect. I think it's a Generally well, you've got quite a high angle on this By the time it's textured. It won't look as bad. So I'm happy with that We've now got a normal map that we can work with Okay, before we take this into Photoshop for text room. We're going to create one more map for it Which I'm going to call a color color ID map Which will make it easy to kind of place textures around a bit a bit faster So in order to do that and we'll just do it as quickly as we can we're going to apply some colored Materials take that a reference To Everything on this so what we'll do is we're just going to go to Back into model and we're going to go mesh and separate so everything's a separate polygon again and We're just going to bang some colors on this So I know that I want the metal to be a separate color So I'm going to assign a new material to that. It's going to be a Lambert And I just want it to have a color. Where is that? Lambert six, so I'm just going to choose quiet, you know Bold color, so I'll use red in this case Okay, and then I'm going to sign existing material to all the ones that are going to have the same material on this so Sign existing material Lambert six Sign existing material Lambert six Right, and then what I want to do is be able to break up the different Planks, so this first plank I'm going to assign a new material to which will be a Lambert And the color of this one will be yellow Why is that not worked? assign new material Lambert Yellow. Hey, there we go. Right, and then the one next to it. In fact, let's just assign This I'm going to do it to every other one Okay, so I've done that now. What I want to do is do the alternate ones with another Equally kind of contrasting colors. So let's assign a new material a Lambert and this time I'm going to use Green and now I'm going to apply that to all the other alternating planks Okay, and then I just need to repeat that for the planks on the top and the bottom and I'll be complete So that will make it really easy to pick out different areas of the the map when we're in Photoshop later So we're going to bake this out to another map so let's just Recombine this so Mesh combine I Want to give this the name? Hi underscore poly underscore barrel again and because this is now seen as a new object It won't be part of that high poly layer anymore So we're going to make sure it's selected Right-click and add selected objects and now I'll be able to hide that and Turn it to reference if I need to So let's just load in Transfer maps again So we're going to go to Rendering we're going to go to a lighting shading and the transfer maps I'm going to use a different type of map this time. So we'll get rid of the normal We're going to use a diffuse map this time and that'll bake the color from one to the other So the source mesh needs to be the high poly. So let's just load that in Then we can turn that off for a little while and Then we're going to choose diffuse and we're going to call this one color ID, but I don't need that capital L there. That's cray-cray and we're going to do a target again and click on save and Everything else should be set up fine from what we did before Which it is So now we're going to bake that from one to the other. Let's click on bake Okay, so the big just finished and you can see that it now looks ridiculous but The cool thing is we've now got a little bit of an idea of Where that metal would be if you look at the mesh without the texture? There's no indication. So even on the UV map. I wouldn't know exactly where to put them in the metallic parts of the texture But we can now see That that's where we'll go So that's really good. So if I can just show you What we've created in Photoshop? So this is the normal map there you go So you can see all that detail is on there that we created which is lovely and if we have a look at the color ID map as well and All the color ID map exists for is so that we can Sample colors and put stuff there so what we can create like masks using those colors It's just about being able to select different areas so We are now done With the modeling we are done with the texture baking All that is left to do is to create the actual materials in Photoshop so we're going to create the different texture maps So there'll be a diffuse or albedo map. There will be a roughness map. There will be a metallic map There will be maybe another kind of map that I'm forgetting But in the next section, that's what we will be covering. It'll be all about texturing So hopefully I will see you in the next section for that