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 {
-  "text": " So looking now the next step we want to do is looking at some of these vertical surfaces here It'd be really nice if we had the effect of rain running down in rivets on these vertical rock walls and maybe even these tree trunks something like that and if this was a Potentially a scene where it's buildings in a man-made area like downtown or something. We definitely want that where we have these Sort of rivets of rain running down these vertical surfaces. In order to get that effect, we're going to step away a bit from particles and we're going to move on to a decal effect that we can put on to some of these vertical surfaces here. So what we're going to do is jump into ZBrush to start making some textures that we can then hook up into a decal material that we can then project onto our scene there. So I'm here in ZBrush. I'm just going to create a plane out of the primitives. Let's make Polymesh 3D. I'm going to turn off smoothing and just hit divide a couple of times so we get a decent resolution, like about a million polygons, something like that. And then under here, I'm going to go to the Brush Palette. And then under this, I'm going to do Rat Mode. I'm going to increase this to 1. Now what Rat Mode does is it will create a tiling effect that will come back around on the plane. So essentially, with the Rat Mode set to 1, what you can do is you can essentially sculpt on this plane and it'll come back through and tile perfectly, which is a really really cool feature that we can have when we're sculpting here in ZBrush. So I'm gonna actually undo that there. And all I'm going to do is I want to create a mask that can simulate the rain drip patterns that goes down a vertical surface. So obviously for looking at the reference of that you can do something like look at the windows of a car or just a window during your rainy day, something like that. And so I'm I'm just going to start drawing some vertical lines here going down. And then just have them kind of connect and have that nice kind of like a tiling vein pattern that goes from top to bottom and just have them connect like so. So something like this. I'm just going to do one more like that. This is going to go to Masking, Mask by Smoothness. Actually, let me do Mask by Peaks and Valleys. Actually, I'm just going to do this. I'm just going to click and drag just the outside areas there, and that isn't really working too well either. So let me see here. Let me do mask by smoothness again. Let me grow mask. Let me blur mask. That might actually work. The mask by smoothness, I'm just trying to essentially isolate these areas in between where I drew these vertical lines here. So I'm just going to fill object with white and then go to black. Fill that in. Now you can do this in Photoshop, there's really no problem. I'm just trying to draw some vertical lines in a tiling pattern here. That can help simulate rain drips so we can create our mask that we're then going to use for our material. So I'm going to redraw the document here, 1024 by 1024. Hit resize. Going to hit control and declare the canvas. I'm going to zoom this out a bit so we can see the whole canvas. I'm just going to frame this real quick. It's going to pick flat color. Then I'm just going to export this. to clean up this kind of weird artifacting stuff going on, I'm just going to select the areas in between here. Then Control-Shift-I. I'm just going to paint white here so I can get rid of these weird kind of rivet looking artifacts here. And then you can see it's a bit of a hard line there, so I'm going to just go to Blur, Gaussian Blur. I'm just going to blur out these edges a little bit just so it's not such a hard fall off. And I might just go in just here in Photoshop, and I could just done this from Photoshop and just sort of paint some of this out as well just to get these a little bit more confined and not so fat. Or make the lines a little less thick more. Send them out just a little bit. Then to do the test to make sure that it tiles, I'm going to go to Offset. I'm going to do the horizontal at zero. I'm just going to do the vertical at 512. And it's not too bad. There's a little bit of artifacting that we'll need to clean up. So there's this kind of big bulgy shape there that I'm going to paint out. And one thing to make sure is that these are all connecting. So what I just did there, you don't want any patterns here that just stop and don't start again in the middle there. You kind of want them to all connect like so. So this, I believe, is going to work and we'll polish it along the way if we need to correct any of the shapes here. So this is going to work a little bit longer and then do one final test to make sure it tiles vertically. I'm going to go ahead and save this as the Raindrip Mask. So Raindrip Mask O1. And then I'm going to create one other texture for this. And what I'm going to do is go back into ZBrush. I'm going to select a new plane, or actually I'm going to select a sphere. I'm going to go back to Basic Material here, then go back to a brighter color so I can see the mesh. Then I'm going to select the Move Brush, and then I'm going to go under Transform, activate Symmetry, Radial, then Z. So I want, actually, going to do Y. So I have this Radial Symmetry here up here. Then I'm going to create a raindrop shape. So I'm just going to really quick just pull from the top and then slowly taper off and just create this raindrop shape You need to be careful around the point here or you could crash ZBrush because when you modify all of this Sculpting power on one single point it kind of could freak out ZBrush and crash. I've had that happen a couple times So just want to watch after that Just going to pull a little from the bottom here. And so something like that, sort of a very simple, just falling raindrop shape. I'm going to click Create Insert Mesh, then we're going to create a Nano Mesh brush. I'm going to go back to another plane. Hit PolyMesh 3D. I'm going to hit Polyframe here so I can see, then reconstruct subdivisions a little bit so I can see the individual faces here. this Nanomesh brush selected. I'm just going to do all polygons, insert Nanomesh. And you can see there I've just drawn wherever there's a polygon I've drawn that raindrop shape that I've made. So now I'm going to go to the Nanomesh tab and these are all going every kind of which way and we want them to all go downwards. So I'm going to go to alignment and do align to normal, which will bring them all down in the same direction, which is what we need. And then I'm going to increase this random distribution to scatter them across the plane here. So something kind of like that. And then under the width, length, and height, I'm just going to just draw these sliders and turn them up so we can get a little bit of variety in the size of the raindrops here. I might turn the random distribution down just a little bit so we don't have as many overlapping each other. And then that's really the only modification we want to do. So I'm going to go down to Inventory and do 1 to Mesh. And then I'm going to go to Polygroups and do a AutoGroup. So what's that going to do? What that's going to do is separate them all so I can go to some of the ones that are kind of overlapping or intersecting with each each other, I'm going to go ahead and separate them really quick. So something like that. I'm just going to separate the mesh, or the nano mesh I just drew from the plane. So I'm just going to do a split hidden. And because I'm doing that, I can then select the plane and I can hit the frame key and that'll bring it where this This is perfectly snapped to the grid or snapped to the document size of 124 by 124. You can see there's going to be a little bit of clipping, but we can fix that no problem. I'm going to hide the plane. You can see there's all these raindrops now. I'm just going to move this guy really quick. Move this guy up here since he's about the same size. Then I'm going to select the normal map material. go under the Render tab, going to turn off shadows, and then hit PBR. And again, if you're more comfortable creating this in Substance Designer or anything like that, you can totally go for that. I'm just going to render one more time, and then going to select the shaded. Let's do PBR render. And then I'm going to select the depth pass. And then I'm going to select the mask too, just so that because there's that nice sort of opaque cut out. So I'll go ahead and save the mask as well. So with that, I'm going to open these up in Photoshop. Now on this one here, I'm just going to go ahead and do Select Color Range Round and use the magic wand. I'm going to just do a Select by Color Range that will pull out all the black. Select a new layer and do the blank normal value of 128, 128, 255. I'm really I'm going to duplicate this layer. I'm going to offset it. And then I'm going to find any clipping issues here that I can see. So, see a couple here. So, I'm just going to go ahead and paint those out. And then just offset one more time. And it looks like everything is good there. So I'm also going to select this one and do the same thing. So I'm going to, for exporting masks out of ZBrush one thing to keep in mind is first you have to, so they're a grayscale, non-RGB, and it's a strange kind of image. So you need to select it under mode, grayscale. and then RGB color. And then you can duplicate these layers and save them as target files. It's gonna do the same thing here to the mask and just get rid of any artifacts that you're seeing here. So wherever you see any half-range drops or anything like that, go ahead and paint them out. Then I might blur this a little bit. Something like that. Then we're going to go ahead and start saving these as the other textures that we'll bring into the decal material. I'm calling this range rips 01. Then this one I'm going to call. randrips01 underscore NM.",
+  "text": " So looking at this now what would make this even better is if on the ground we have the rain splashes and we have the water splashes But we want to also add some ripples to the watering some of the places where there might be puddles or might be flat surfaces Where the raindrops falling we also want that kind of ripple effect that we could have on the ground and so to do that What we'll have to do is we'll have to Partake in this is going to probably be the most tech heavy particle we're going to make for this but it's relatively simple and straightforward and only requires a few steps. So in order to start that, I'm going to go first into ZBrush. Now you can do this in Maya and you in a pinch can do this in Photoshop or Substance Designer. But what we really need to do here is we just need to render a specific type of shape so we can grab both the normal map from it and the falloff or depth from it. And explaining a little bit further, what I'm going to do is I'm going to first make make a document and just make it a 1024 by 1024. Just resize that real quick. And then I'm gonna go into document and I'm going to go to this zoom panel and just zoom out by just clicking and dragging a little bit. So we have the full space here. And then all I'm going to do is I'm going to go to one of the primitive shapes here and I'm going to select the cone shape. I'm just going to click and drag this in the space here. And then before I hit make poly mesh through D, I want to go down to this initialized tab and I want to take out some of these facets and really crank up the resolution. So I'm going to go here and I'm just going to scroll until I don't really see the facets really at all anymore. So I've really divided this all the way up, maxed it out, and now I'm going to hit Polymash 3D. So I have this very smooth cone shape that you can see right here. And now what I want to do is I want to snap this so it's facing dead on to the screen. So holding shift and snap. And now we see that this cone has a center point and then the radius around it that's facing completely perpendicular to the screen there. So now what I wanna do is I want to just bring up the transform cursor and I wanna just control, click and drag a couple of these around the screen and then just kinda scoot the size a little bit and just kinda randomly arrange them Something like this. What I do not want is I don't want them to intersect like this, and I also don't want them to go off the edge of the document. So I want to avoid those two things. And so I just want to populate a couple of these right here. Then I might do one more right here. There might actually be one too many. I'm actually gonna, another thing I'm gonna do is I'm gonna just clear the mask. I'm gonna go to Poly groups, auto groups, and then I can control click, and then I can just hit anyone that I want here. And I'm just going to get sort of a nice random assignment of these different, so these are essentially going to be where our raindrops fall on the sprite once we spawn it. So something kind of simple like this. And so again, none of them are touching and none of them are touching the edges of the document here. So what I wanna do is I just wanna click and select this normal map material here. And then I wanna go to render, go under render properties. Wanna click off shadows. And then I just wanna hit this PBR tab right here. And then you'll see nothing really changed but what was done here is I'm gonna go down to render passes. And we're gonna find both the shaded pass and the depth pass. And we need both of these. We're not gonna worry too much about the mask pass because this will take care of the data that we're gonna need once we get this into the material. So I'm gonna just click the shaded one, then export that really quick. Just hit okay. Then we're going to also do this for the depth pass. And these, of course, need to be the exact same texture. So if you move the camera or anything like that, you'll just need to re-render again in that export to make sure you get both the normal map and the depth map are one and the same. And so really quick here, I'm just going to go into Photoshop and just open those. So the PBR underscore render and the PBR underscore depth. For this one here, I'm just going to double click to unlock the layer. I'm going to select the magic wand tool and just get rid of that black. I'm going to create a blank layer and just go to RGB and I'm going to do the default normal value, which is 128 in red, 128 in green, and then slide all the way over to 255 in blue. I'm just going to paint bucket this layer on top. And so then you see the nice blank normal value there. Just going to scoot this level or layer under this one. And then I'm just going to go to overlay. And I'll get rid of those weird greenish yellowish values there. And so I'm just going to save this now as a target as water ripple 01 underscore for NM, normal map. Save it as a 24-bit. For this depth pass, we'll have to do a couple little modifications. So I'm just going to go to Mod or Mode, sorry, and put this at 8 bits instead of 16 bits. And then I'm gonna go back to Mode and I'm gonna set this to RGB color instead of grayscale. And then I can see that this one, for whatever reason, is not as blurry as these right here. So really quick, I'm just going to duplicate this going to duplicate this layer. I'm going to select these passes that have a little bit less of a blurry edge to them. And then I'm just gonna do a little bit of a Gaussian blur, just a tiny bit to just break up that edge there. So something like that. And so you can see what's pretty important with creating this texture is that when we look at these, you can see that there's a nice pinpoint center with the highest value. And then it slowly fades out in this really nice, blurred way to a darker and darker value from the center. So this is very important. You want it to look something like this. So it's a high intensity pinpoint center. And then it slowly gradually fades to a darker value as it goes out. So now I'm just gonna save this as a target. Just gonna call this water ripple 01. Thank you.",
   "segments": [
     {
-      "text": " So looking now the next step we want to do is looking at some of these vertical surfaces here It'd be really nice if we had the effect of rain running down in rivets on these vertical rock walls and maybe even these tree trunks something like that and if this was a Potentially a scene where it's buildings in a man-made area like downtown or something. We definitely want that where we have these Sort of rivets of rain running down these vertical surfaces. In order to get that effect, we're going to step away a bit from particles and we're going to move on to a decal effect that we can put on to some of these vertical surfaces here. So what we're going to do is jump into ZBrush to start making some textures that we can then hook up into a decal material that we can then project onto our scene there. So I'm here in ZBrush. I'm just going to create a plane out of the primitives. Let's make Polymesh 3D. I'm going to turn off smoothing and just hit divide a couple of times so we get a decent resolution, like about a million polygons, something like that. And then under here, I'm going to go to the Brush Palette. And then under this, I'm going to do Rat Mode. I'm going to increase this to 1. Now what Rat Mode does is it will create a tiling effect that will come back around on the plane. So essentially, with the Rat Mode set to 1, what you can do is you can essentially sculpt on this plane and it'll come back through and tile perfectly, which is a really really cool feature that we can have when we're sculpting here in ZBrush. So I'm gonna actually undo that there. And all I'm going to do is I want to create a mask that can simulate the rain drip patterns that goes down a vertical surface. So obviously for looking at the reference of that you can do something like look at the windows of a car or just a window during your rainy day, something like that. And so I'm I'm just going to start drawing some vertical lines here going down. And then just have them kind of connect and have that nice kind of like a tiling vein pattern that goes from top to bottom and just have them connect like so. So something like this. I'm just going to do one more like that. This is going to go to Masking, Mask by Smoothness. Actually, let me do Mask by Peaks and Valleys. Actually, I'm just going to do this. I'm just going to click and drag just the outside areas there, and that isn't really working too well either. So let me see here. Let me do mask by smoothness again. Let me grow mask. Let me blur mask. That might actually work. The mask by smoothness, I'm just trying to essentially isolate these areas in between where I drew these vertical lines here. So I'm just going to fill object with white and then go to black. Fill that in. Now you can do this in Photoshop, there's really no problem. I'm just trying to draw some vertical lines in a tiling pattern here. That can help simulate rain drips so we can create our mask that we're then going to use for our material. So I'm going to redraw the document here, 1024 by 1024. Hit resize. Going to hit control and declare the canvas. I'm going to zoom this out a bit so we can see the whole canvas. I'm just going to frame this real quick. It's going to pick flat color. Then I'm just going to export this. to clean up this kind of weird artifacting stuff going on, I'm just going to select the areas in between here. Then Control-Shift-I. I'm just going to paint white here so I can get rid of these weird kind of rivet looking artifacts here. And then you can see it's a bit of a hard line there, so I'm going to just go to Blur, Gaussian Blur. I'm just going to blur out these edges a little bit just so it's not such a hard fall off. And I might just go in just here in Photoshop, and I could just done this from Photoshop and just sort of paint some of this out as well just to get these a little bit more confined and not so fat. Or make the lines a little less thick more. Send them out just a little bit. Then to do the test to make sure that it tiles, I'm going to go to Offset. I'm going to do the horizontal at zero. I'm just going to do the vertical at 512. And it's not too bad. There's a little bit of artifacting that we'll need to clean up. So there's this kind of big bulgy shape there that I'm going to paint out. And one thing to make sure is that these are all connecting. So what I just did there, you don't want any patterns here that just stop and don't start again in the middle there. You kind of want them to all connect like so. So this, I believe, is going to work and we'll polish it along the way if we need to correct any of the shapes here. So this is going to work a little bit longer and then do one final test to make sure it tiles vertically. I'm going to go ahead and save this as the Raindrip Mask. So Raindrip Mask O1. And then I'm going to create one other texture for this. And what I'm going to do is go back into ZBrush. I'm going to select a new plane, or actually I'm going to select a sphere. I'm going to go back to Basic Material here, then go back to a brighter color so I can see the mesh. Then I'm going to select the Move Brush, and then I'm going to go under Transform, activate Symmetry, Radial, then Z. So I want, actually, going to do Y. So I have this Radial Symmetry here up here. Then I'm going to create a raindrop shape. So I'm just going to really quick just pull from the top and then slowly taper off and just create this raindrop shape You need to be careful around the point here or you could crash ZBrush because when you modify all of this Sculpting power on one single point it kind of could freak out ZBrush and crash. I've had that happen a couple times So just want to watch after that Just going to pull a little from the bottom here. And so something like that, sort of a very simple, just falling raindrop shape. I'm going to click Create Insert Mesh, then we're going to create a Nano Mesh brush. I'm going to go back to another plane. Hit PolyMesh 3D. I'm going to hit Polyframe here so I can see, then reconstruct subdivisions a little bit so I can see the individual faces here. this Nanomesh brush selected. I'm just going to do all polygons, insert Nanomesh. And you can see there I've just drawn wherever there's a polygon I've drawn that raindrop shape that I've made. So now I'm going to go to the Nanomesh tab and these are all going every kind of which way and we want them to all go downwards. So I'm going to go to alignment and do align to normal, which will bring them all down in the same direction, which is what we need. And then I'm going to increase this random distribution to scatter them across the plane here. So something kind of like that. And then under the width, length, and height, I'm just going to just draw these sliders and turn them up so we can get a little bit of variety in the size of the raindrops here. I might turn the random distribution down just a little bit so we don't have as many overlapping each other. And then that's really the only modification we want to do. So I'm going to go down to Inventory and do 1 to Mesh. And then I'm going to go to Polygroups and do a AutoGroup. So what's that going to do? What that's going to do is separate them all so I can go to some of the ones that are kind of overlapping or intersecting with each each other, I'm going to go ahead and separate them really quick. So something like that. I'm just going to separate the mesh, or the nano mesh I just drew from the plane. So I'm just going to do a split hidden. And because I'm doing that, I can then select the plane and I can hit the frame key and that'll bring it where this This is perfectly snapped to the grid or snapped to the document size of 124 by 124. You can see there's going to be a little bit of clipping, but we can fix that no problem. I'm going to hide the plane. You can see there's all these raindrops now. I'm just going to move this guy really quick. Move this guy up here since he's about the same size. Then I'm going to select the normal map material. go under the Render tab, going to turn off shadows, and then hit PBR. And again, if you're more comfortable creating this in Substance Designer or anything like that, you can totally go for that. I'm just going to render one more time, and then going to select the shaded. Let's do PBR render. And then I'm going to select the depth pass. And then I'm going to select the mask too, just so that because there's that nice sort of opaque cut out. So I'll go ahead and save the mask as well. So with that, I'm going to open these up in Photoshop. Now on this one here, I'm just going to go ahead and do Select Color Range Round and use the magic wand. I'm going to just do a Select by Color Range that will pull out all the black. Select a new layer and do the blank normal value of 128, 128, 255. I'm really I'm going to duplicate this layer. I'm going to offset it. And then I'm going to find any clipping issues here that I can see. So, see a couple here. So, I'm just going to go ahead and paint those out. And then just offset one more time. And it looks like everything is good there. So I'm also going to select this one and do the same thing. So I'm going to, for exporting masks out of ZBrush one thing to keep in mind is first you have to, so they're a grayscale, non-RGB, and it's a strange kind of image. So you need to select it under mode, grayscale. and then RGB color. And then you can duplicate these layers and save them as target files. It's gonna do the same thing here to the mask and just get rid of any artifacts that you're seeing here. So wherever you see any half-range drops or anything like that, go ahead and paint them out. Then I might blur this a little bit. Something like that. Then we're going to go ahead and start saving these as the other textures that we'll bring into the decal material. I'm calling this range rips 01. Then this one I'm going to call. randrips01 underscore NM."
+      "text": " So looking at this now what would make this even better is if on the ground we have the rain splashes and we have the water splashes But we want to also add some ripples to the watering some of the places where there might be puddles or might be flat surfaces Where the raindrops falling we also want that kind of ripple effect that we could have on the ground and so to do that What we'll have to do is we'll have to Partake in this is going to probably be the most tech heavy particle we're going to make for this but it's relatively simple and straightforward and only requires a few steps. So in order to start that, I'm going to go first into ZBrush. Now you can do this in Maya and you in a pinch can do this in Photoshop or Substance Designer. But what we really need to do here is we just need to render a specific type of shape so we can grab both the normal map from it and the falloff or depth from it. And explaining a little bit further, what I'm going to do is I'm going to first make make a document and just make it a 1024 by 1024. Just resize that real quick. And then I'm gonna go into document and I'm going to go to this zoom panel and just zoom out by just clicking and dragging a little bit. So we have the full space here. And then all I'm going to do is I'm going to go to one of the primitive shapes here and I'm going to select the cone shape. I'm just going to click and drag this in the space here. And then before I hit make poly mesh through D, I want to go down to this initialized tab and I want to take out some of these facets and really crank up the resolution. So I'm going to go here and I'm just going to scroll until I don't really see the facets really at all anymore. So I've really divided this all the way up, maxed it out, and now I'm going to hit Polymash 3D. So I have this very smooth cone shape that you can see right here. And now what I want to do is I want to snap this so it's facing dead on to the screen. So holding shift and snap. And now we see that this cone has a center point and then the radius around it that's facing completely perpendicular to the screen there. So now what I wanna do is I want to just bring up the transform cursor and I wanna just control, click and drag a couple of these around the screen and then just kinda scoot the size a little bit and just kinda randomly arrange them Something like this. What I do not want is I don't want them to intersect like this, and I also don't want them to go off the edge of the document. So I want to avoid those two things. And so I just want to populate a couple of these right here. Then I might do one more right here. There might actually be one too many. I'm actually gonna, another thing I'm gonna do is I'm gonna just clear the mask. I'm gonna go to Poly groups, auto groups, and then I can control click, and then I can just hit anyone that I want here. And I'm just going to get sort of a nice random assignment of these different, so these are essentially going to be where our raindrops fall on the sprite once we spawn it. So something kind of simple like this. And so again, none of them are touching and none of them are touching the edges of the document here. So what I wanna do is I just wanna click and select this normal map material here. And then I wanna go to render, go under render properties. Wanna click off shadows. And then I just wanna hit this PBR tab right here. And then you'll see nothing really changed but what was done here is I'm gonna go down to render passes. And we're gonna find both the shaded pass and the depth pass. And we need both of these. We're not gonna worry too much about the mask pass because this will take care of the data that we're gonna need once we get this into the material. So I'm gonna just click the shaded one, then export that really quick. Just hit okay. Then we're going to also do this for the depth pass. And these, of course, need to be the exact same texture. So if you move the camera or anything like that, you'll just need to re-render again in that export to make sure you get both the normal map and the depth map are one and the same. And so really quick here, I'm just going to go into Photoshop and just open those. So the PBR underscore render and the PBR underscore depth. For this one here, I'm just going to double click to unlock the layer. I'm going to select the magic wand tool and just get rid of that black. I'm going to create a blank layer and just go to RGB and I'm going to do the default normal value, which is 128 in red, 128 in green, and then slide all the way over to 255 in blue. I'm just going to paint bucket this layer on top. And so then you see the nice blank normal value there. Just going to scoot this level or layer under this one. And then I'm just going to go to overlay. And I'll get rid of those weird greenish yellowish values there. And so I'm just going to save this now as a target as water ripple 01 underscore for NM, normal map. Save it as a 24-bit. For this depth pass, we'll have to do a couple little modifications. So I'm just going to go to Mod or Mode, sorry, and put this at 8 bits instead of 16 bits. And then I'm gonna go back to Mode and I'm gonna set this to RGB color instead of grayscale. And then I can see that this one, for whatever reason, is not as blurry as these right here. So really quick, I'm just going to duplicate this going to duplicate this layer. I'm going to select these passes that have a little bit less of a blurry edge to them. And then I'm just gonna do a little bit of a Gaussian blur, just a tiny bit to just break up that edge there. So something like that. And so you can see what's pretty important with creating this texture is that when we look at these, you can see that there's a nice pinpoint center with the highest value. And then it slowly fades out in this really nice, blurred way to a darker and darker value from the center. So this is very important. You want it to look something like this. So it's a high intensity pinpoint center. And then it slowly gradually fades to a darker value as it goes out. So now I'm just gonna save this as a target. Just gonna call this water ripple 01. Thank you."
     }
   ]
 }