Add transcription for: frames_zips/CGMA_IntroAssetCreationGames_DownloadPirate.com_Week 6 - 4 SmartMaterialDetailing&Assignment_frames.zip

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+  "text": " Okay, so now I want to start working on some of the more unique detail that we can see in terms of our references. So one of the things I definitely want to get across is some of these like bigger, larger, staining type results that you can see in these areas on our references. And then I also want to try and get the dirt and grime and the metal edge wear as well. So that will kind of pull the base material together, hopefully as a bit more of a finalized first material, right? So we first need to just start by doing a bit of organization here. So I'm going to select everything we created last time and basically group this together as our base. So this will just provide the basis of our dark metal or painted metal that we have here. We obviously have our dirt. I do want to build out a metal. And so for the sake of time, I'm probably just going to use some smart material type ones that we can use there, just so we can get something going for the edgeware and everything. So in this case, the one that I actually built just to sort of go over that though, so you can sort of see how that one was generated. I can just show that. It's not a super complicated material. And in most cases, I actually have a lot of these kind of materials saved out in my shelf as smart materials anyway. So things like the base steel, like a metal steel, I just copied that straight into there. So this is actually, you can see as a very, very close example of what we did for the plastic. So that's why I didn't really feel like I need to cover it in a great amount of detail again. Same kind of idea. We have the base material. We build out our roughnesses and color variation and everything. So I'm always trying to focus mostly on having variety in the base color And variation in the roughnesses as well With those grunges those grunge passes and that's what I was trying to get across there This part is basically where I try to add a bunch of unique detail that you can see In my actual references here. So we do Some of these like scratches and things like that. So basically fill out different areas here. We have some staining which looks like it's kind of scratching up the surface and everything. We actually have some of these guys represented more in normal data as well in height data so we can feel like these are more scratched and broken up and it's got some of those like smaller kind of dinks and things like this that you can see. And that is just for our base metal, that's the base metal that we use and then I also create a version where I add some dirt over the top of this. So that's like more of a dirty version, which I actually use in some of these areas when we assign the material to it. So that's the kind of overview of that. So for the case of this, we'll just create a base one and you can actually use, I think in the library, there's some pretty good metal smart materials. So you could just come in here with the steel or the silver armor or something like that. I like these ones. These are generally pretty good smart materials So we can just enable and have a look at that one. So this is Turn a dirt off. This is what the silver armor Looks like so that one is a pretty good Metal that you can definitely use just check when you're looking at these though for the PBR values because sometimes they can be a bit dark So for this one, I would potentially look at just coming in here with a pass-through layer And then you can just add a hue saturation on the base color just to brighten it up enough that it's gonna not be red in the PBR Value so that one's nice and bright now. So that can be our our base metal So we'll just call that base metal there and then for the anchor point you can just add in Your pass through you've got the pass through here. So this is the adjustment So I'm just going to add to Yeah, actually, let me just do a separate anchor point layer so silver No, sorry base metal base metal and I'm just going to add anchor points to this and then what we'll do is Come through to the different layers like the roughness and everything just set those up as pass through So I can now use this metal as a reference later up in my material there. So we can just turn off our base materials and turn on back on our plastic. So yeah so the first thing we want to do and if we're looking at our reference material here is we have these kind of bigger larger roughness stains. Those are very straightforward to do so we'll just say roughness or big roughness adjustments and some of these can also have color into them as well, but it's the same process as before where we basically just go over into our grunges here, and we're looking for something that can resemble some of the detail that we can see over in our references here. So we jump over to this one, you've got these kind of stain type looks, right? So we're looking for something like that which we can use, and a lot of these as well are adjustable with parameters and things so you could always put these in and then once you've got them in there then you can always just easily swap them out right so I usually go through the same process of adding them into the mask and then adding that into the fill sometimes you have to wait a second for this to adjust setting it up to be triplanar and tiling it these ones we're probably not going to want to tile as large as we did before because obviously this is going to be a big adjustment. So we do our roughness and everything here. You can see that we can start to get that feel really quickly by just kind of having a slightly brighter roughness. So that one is already feeling pretty good. And then we can do the color as well. For the color, I would usually just color pick off of the base color itself and then maybe darken down slightly or tweak the color of it, maybe just a little bit. So it's a bit more saturated potentially. Just play around and find something that you find works for you. Just don't go too crazy with the color. Otherwise it can break the PBR values. And also maybe just play around with a lower opacity on the color because I would definitely not wanna go too detailed with that. So that one's a good example of like how we can actually start to work that up. And then we can do the same. Sometimes it's nice to have the occasional one that's a little bit goes the opposite way, right? So we have something at the moment that's rougher, but now we can go with an effect like this type of one that we have, but instead of it being sort of rough, we're gonna actually make it shinier. So this one can just catch the light in places. So you can sort of see that there. We will need to experiment with the mask of this because we're probably not gonna want this to be coming in in loads of places. So that's why you wanna sort of experiment with just swapping these masks out for different versions and not having this appear in too many places. That's probably a pretty nice example. And you can build up as many of these as you want, but this is kind of the general idea for those like bigger roughness style adjustments. So next up after that, we do some edge, like larger edge adjustment type things. We don't have to do that. Those are kind of, that's an optional thing, but it's the same process as what we did in our original edges. Just, I think I did experiment with some slightly sort of more intense ones. So if we look at that, actually, let's just see what that does. So those global edges, let's turn off some of these dirt and everything. Yeah, so those basically just kind of darken the edges and create some effects and everything in there. So that's what we're doing with these global edges there. So it's creating much more of an obvious effect there. And I think with these, yeah, we have like more of an edge wear type of effect there. You can sort of see that. So that's basically what those do. Those are similar to these edge adjustments. So maybe we can just duplicate these ones up a bit and then experiment with the intensity of those. So let's try and go, I'm just gonna try and go like a bit more. All right, so that's the, that one I wanna do maybe more of the edges and just play with the dark, like these being a darker edge. So this could also be about the mask as well because we wanna have, we don't wanna have the same masks. We always wanna try and vary stuff up and have different masks and different generators. So I think the metal edge wear is actually the one I used for this to kind of get more of that sort of like staining on the edge so you can sort of see how that is looking which this is definitely more of a global kind of effect specific for this particular area because I wanted certain sections. Again, it's to kind of get this type of result where you see that it becomes darker in places that was like the impact I was trying to go for. So you can sort of see how that really helps that type of look. Okay and then next up I did the metal edge wear and the scratches and things like that. So for this one this is where we're going to actually use our mask or our material from the metal. So we want to come in here and we're going to select our base metal and then we're going to set this to be metallic which is going to bring in that base metal here and then we can turn everything else off so we can preview this and then for the roughness we'll also select the base metal roughness and this is that steel armoured material, right? So that's coming through and then if we just turn this on and off you can see that. And then for the edgeware what I mostly would do again is experiment with smart masks. I find some of these can be really helpful and then you can combine them together. So gun edges is really nice usually for sort of small type edgeware so it's not impacting things very much so we'll just remove that one so you can see here that's with the oops actually let me just reapply that but I want to apply that actually on my metal edgeware layer yeah so you can see this is the the gun edges and that's kind of how that looks and at the moment this is obviously very kind of in your face everything is very obvious so we can make adjustments to kind of how much of that effect we actually have kind of coming through there for the base material just by tweaking the opacity. That's kind of how that's going to look so we can sort of see that. And then so that's sort of chipping away the edges. The other thing you can also do is this is very binary in its mask so we we can always add grunges back into this to try to vary that up as well. So if we go for grunge and try and pick something that has a little bit of interest in there rather than a filter, let's just try and add a fill layer and we're just going to drag and drop that onto the mask. And then for this guy, we'll do the same thing as well, try planar. And I'm going to set this to maybe four and then we'll just do a subtract for this so that it's basically going to take away from that mask For these you probably want to keep this like a little bit larger And I probably am gonna select something just a little bit softer than that powdery result So yeah, so now you can see that this is just varying up So it's not always the same intensity kind of everywhere, right? That's something that's important for these types of masks to make them feel more natural So here we have that kind of edge wear type result and how that's looking. Remember that once we actually mask all of this are out as well. So this is going to be our painted metal. This one is the edge wear, sorry. So when we mask this in the end we're going to do a mask with a color selection. So remember that this is only going to appear in these areas. So you don't need to worry about it, what it It looks like on some of these tendrils and other things as well Just mostly on the the final kind of parts of the model if that makes sense So so yeah, so that's sort of roughly what I would say on the edge where and then you can then duplicate this up and try and have other Masks that you use as well. So we'll go for maybe edge where Here again, and we can maybe look at edge damages So just pulling these in and experimenting with the different ones you can sort of see the the type of edgeware results that these can give. So here's another one that also adds some nice interest and break up as well. And we can experiment with the overall globals of look of that and how much the textures are contributing to some of these effects as well. So we can just experiment with all of that stuff and get the result that we're after. So So yeah, I think that's looking pretty good. And then I would probably just copy this effect onto here as well. So where's our effect, paste the effect. So this one, again, we're just sort of breaking up the details and things with new grungers and new masks and everything. So something like that is already feeling pretty nice. So that covers like the basics of edge wear. We will also hand paint the edge wear as well because if we look at our references here, one of the things that's really nice is we have these little smaller chips which I've managed to get with some of those procedural results already. But then if we look at this one, we have these kind of scratches which are a lot more directional and they're much more specific detail that there's one scratch in a particular location. So we're gonna wanna do stuff like that a bit more as a hand-painted pass, right? So that's what I would say there. So that covers that stuff. And I think the last thing to go through is the dirt effect. So this one, again, we're gonna add in a new folder and we're gonna call this dirt or grease, whatever we wanna call it. I think I built up in my example different types of ones. I have like a general dirt. I have different grease types effects as well. So yeah, you can build this all up sort of slowly and over time as well. So cool. So you add a fill layer in for this one and we've obviously already got our dirt in here so we can come in and reference those again with our base color and everything and our roughness and get our, actually we needed to make sure, sorry, that we added a fill in there rather than that guy and then we'll come in with the dirt and then we'll do the same thing. So we'll have a, I think I was selecting the wrong dirt which is why it's coming in as, It's not actually coming in there. Okay, so now we have our dirt. So for this In the references that I had I had this idea of you know You obviously usually get dirt in recesses and crevices. So that's usually a good pass to do just generally for most models I tend to add dirt kind of into the recesses and the crevices sort of around objects and everything I usually find and that gives a nice look, but then in this particular case. I also wanted these kind of nice In the recesses you see that it kind of builds up and then we also get this like Staining effect on the edges as well. So you can see if I turn this one on Here from my references How that's kind of coming together. So we have a general sort of dirt that just kind of comes in everywhere You sort of see that then we have this grease effect and the grease if we turn these guys on you'll see that It has that kind of like darker It sort of builds up. I think I've actually tweaked this as well a little bit from what it is Originally, I think this one is the one that does the darker edges So was a little bit darker I think before but you can sort of see that it builds up that kind of darker staining Around the edges that was like the impact I wanted to get so when you sort of zoom in on some of these you can see that So so that's that's that kind of result and we'll go through kind of how I worked up these different ones So the first one is just like a general dirt and I would usually add Fill layers with the hue saturation here So I can tweak the darkness or the color of my dirt as well using the hue saturation And then again, you can use smart masks So we could search for say dirt and just try and pull these on and see What types of results and masks those are gonna give so you can see that this one is like? Quite a nice type of one here. We've got our dirt cavities So you can usually just pull these in drag and drop them on and try and find something that you think Looks pretty good like this one is not a bad like overall kind of dirt Although I'm not a hundred percent on my hue saturation. I'm not a hundred percent on my color tweaking that I've done here So we can just sort of experiment I maybe go like a little bit darker and a bit more red with that one But you can sort of see that can give us like a little bit of an overall kind of cavity style dirt. I also do generally like using the standard generator because this one has like a nice It's just easy to tweak as well how you want it So you get this kind of overall style dirt You can change like the amount of this you can change the contribution of grunge And the scale of the grunge and everything and then tweak say the contrast and you can use this just to get the Particular visual that you're after so I do really like using that one as like an ambient style here. So that's sort of how that is looking overall, which is cool. And then to build up our edge style dirt, or the one where we create like darker on the edges and everything. That one is easy to do as well. We just again, we need a mask. So for this, we want something cavity based. So maybe it's like dirt cavities, we could pull that one in and see what that can give us. Yeah, So this one is already giving us like a nice kind of cavity style mask, which is which is good So we can tweak from this cavity by having sort of you know adjustments to the ground adjustments to the levels and we can try and get something that's like Giving us that dirt and usually for this as well. I just make it really dark so we can see Where it's actually impacting stuff and then we can adjust it later, right? So we're just starting to see where it's coming in and it's looking pretty good But you know when you look at stuff like this, it's not everywhere on the mass So we need to have other ways to break that up like we did before So what I would usually do is the same kind of thing As I had done before with some of my other effects where I have these grunges so we can just copy this effect and then paste that effect in here and you can see that we can now kind of use that to basically break things up more on that mask and we probably would want to tweak this because we don't want it to be completely eradicating the mask everywhere we just want it to sort of take away in some of these places right so you can sort of see how that's we're building that up here as well and then we can always experiment with expanding that mask a little bit and you can sort of see how that's building up these nice shapes. One of the other things I like to do as well is I'll use the slope blur. So we'll just come in with the blur slope and this can be a really nice for breaking up those edges even more and we're going to be playing around with maybe setting that to a min or a max effect. So that can just break up that dirt mask even more with the type of look that we want to go for. Because if you look at this particular area, we have this kind of more undulated sort of warped look to things. So that can be pretty nice to get that sort of effect. We can also add maybe a let's try and add say a contrast to this as well so we can get much more of a contrasted mask which we can start to actually visualize how things are looking. So this could definitely work quite nicely already with some tweaking to this to sort of experiment a bit more with how much we're actually revealing here but this is already giving us that kind of darker dirt around the edges. So from that now what we would do is tweak back into a range where the dirt actually kind of makes sense and you can and now see that we have this dirt here. And then how do we go from this to having some more of those edges? So the way to do that is to add an anchor point to this. So this is gonna be our edge dirt. So we'll add an anchor to this. And then I'm gonna just duplicate my layer again and I'm just gonna cancel out the mask and add a fill in there. So we'll take our edge dirt And now we can see we have our edge there, which is looking pretty good. So from that, we've got our mask here. We're gonna use another filter. So we wanna take our filter here and we wanna search for mask outline. And this is basically gonna take the mask that we've just generated and turn this into an edge, right? So you can sort of see that there. So as we add this on top, we can then now darken down our texture. and you can see that this is giving us this nice edge to the dirt, which is pretty cool. And we can tweak those values of that mask. So we can experiment with the width of that. We can experiment with blur. You can experiment with the shape that you're getting from it and everything. And I like to as well, you can see that it's almost like a beveled result. So if you didn't want that, you can just add a filter again and maybe play around with say a contrast. So if we do that here, we can just contrast that mask. So now it's like a nice thick line that's going around everything, which is pretty good. And then a lot of the effects that we had before, so say the slope blur and the grunges, we can then bring those kind of back in on top to vary that up. So we now have some slope blur type stuff that's breaking this up, and we also have this grunge that's breaking this up. And then the value of this, we wanna make it darker, but we don't want it to be as dark and maybe we can play with the saturation of that to kind of experiment with it standing out a little bit more, right? So you can sort of start to see how that works. And then it's just a case of tweaking the settings we have. So with the mask outline, we have that guy there. We have our contrast on the mask outline. I'm gonna tweak the values and things of this a little bit so we can get it a little bit darker. So yeah, and then that's starting to resemble this kind of like look, right? Where we can see it sort of, yeah, built up like that. So that's basically the way I worked with this particular result. And then we can come in with our grunge overall that sort of breaks things up. And we can check our mask at all times as well just by clicking the mask and experimenting with that. And then we have our slope blur as well. I think I'm gonna tweak the slope blur intensity bit. So yeah you can kind of see how we're starting to build up that sort of look and the feel and then if you want to to kind of overall well if you want to overall break this up you can just come back over to your grunge map and increase or decrease this so you can see that we can reduce the amount of that that dirt build up or if we just want a overall because at the moment that still feels like it's, because we add the contrast, that still feels like it's getting pretty binary. So we could add another one over the top of this, kind of after the contrast, which is just gonna give us like more of a softer break up on some of these as well. And again, you can play around with the opacity of that and everything, tweaking things, and just experimenting more with this guy, maybe going for less contrast on that as well. So we can just start to break this up with some more grayscale values, because that's one of the things that can be that can really help with this type of stuff is you don't want everything to be binary all the time. It's nice to kind of vary that up. So you can see here just by adding this guy in, that's taken those masks to just feeling a bit softer in some places. That can really help when it comes to that like break up of the different masks and things. And you can sort of see how that's looking, right? So yeah, so that brings in the sort of edge of this, the end of this particular material. And then for the metal edge wear, right, that we have here, the one that we created, to mask that into those sections, like that's really easy to do as well. We can just come in with our metal assignment, let's make it metal assignment. And I'm just gonna add in a fill layer with sco fill. fill and then I'm going to come in with that metal. So with our base metal here and then we'll say metallic and then we'll say roughness and we'll choose the base metal right and then from there we can just assign add a mask to this and we'll do a, actually a mask with color selection and we'll just pick the green section. So that's assigning the metal to those areas. We would probably want to work that metal up a little bit more like I had done in my previous example, but we've shown a lot of the techniques for doing that so far in the class already. So this is like we're bringing this together, this is now our base materials. I'm not going to cover the other base materials I did because again those are kind of the same process. So I have a brass and a painted metal so we can assign those in now as well, but the same process basically for getting all of this stuff together. So if I just come over to my smart materials, I have this tarnished brass so we can assign that in there. And again, these are all built in exactly the same way as they were for the main materials, right? So if I just bring this in here, we can see that we have our our brass in those areas and then we can also do the yellow painted one as well so I'll just pull this in here and this is just going to build up the the base materials and you just assign them using the material assignment color ID selection right if you wanted as I mentioned if you want to change the assignment of these we'll just reveal that mask let me turn that one off. If you wanted to come in and say assign a different section to that brass material, it's just a case of doing that and you can assign it really easily. And then if you don't want that, you can obviously just remove the paint effect, right? So now at this sort of stage of the lectures, we should have our base materials figured out for our plastic and metal, and then you would definitely want to just take a quick pass on the other one. So I would probably do a little bit more into this with say dirt and things like that. But this should get us into a good place so now we can start on some more of our specific details like our hand painted details and things like that.",
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+    {
+      "text": " Okay, so now I want to start working on some of the more unique detail that we can see in terms of our references. So one of the things I definitely want to get across is some of these like bigger, larger, staining type results that you can see in these areas on our references. And then I also want to try and get the dirt and grime and the metal edge wear as well. So that will kind of pull the base material together, hopefully as a bit more of a finalized first material, right? So we first need to just start by doing a bit of organization here. So I'm going to select everything we created last time and basically group this together as our base. So this will just provide the basis of our dark metal or painted metal that we have here. We obviously have our dirt. I do want to build out a metal. And so for the sake of time, I'm probably just going to use some smart material type ones that we can use there, just so we can get something going for the edgeware and everything. So in this case, the one that I actually built just to sort of go over that though, so you can sort of see how that one was generated. I can just show that. It's not a super complicated material. And in most cases, I actually have a lot of these kind of materials saved out in my shelf as smart materials anyway. So things like the base steel, like a metal steel, I just copied that straight into there. So this is actually, you can see as a very, very close example of what we did for the plastic. So that's why I didn't really feel like I need to cover it in a great amount of detail again. Same kind of idea. We have the base material. We build out our roughnesses and color variation and everything. So I'm always trying to focus mostly on having variety in the base color And variation in the roughnesses as well With those grunges those grunge passes and that's what I was trying to get across there This part is basically where I try to add a bunch of unique detail that you can see In my actual references here. So we do Some of these like scratches and things like that. So basically fill out different areas here. We have some staining which looks like it's kind of scratching up the surface and everything. We actually have some of these guys represented more in normal data as well in height data so we can feel like these are more scratched and broken up and it's got some of those like smaller kind of dinks and things like this that you can see. And that is just for our base metal, that's the base metal that we use and then I also create a version where I add some dirt over the top of this. So that's like more of a dirty version, which I actually use in some of these areas when we assign the material to it. So that's the kind of overview of that. So for the case of this, we'll just create a base one and you can actually use, I think in the library, there's some pretty good metal smart materials. So you could just come in here with the steel or the silver armor or something like that. I like these ones. These are generally pretty good smart materials So we can just enable and have a look at that one. So this is Turn a dirt off. This is what the silver armor Looks like so that one is a pretty good Metal that you can definitely use just check when you're looking at these though for the PBR values because sometimes they can be a bit dark So for this one, I would potentially look at just coming in here with a pass-through layer And then you can just add a hue saturation on the base color just to brighten it up enough that it's gonna not be red in the PBR Value so that one's nice and bright now. So that can be our our base metal So we'll just call that base metal there and then for the anchor point you can just add in Your pass through you've got the pass through here. So this is the adjustment So I'm just going to add to Yeah, actually, let me just do a separate anchor point layer so silver No, sorry base metal base metal and I'm just going to add anchor points to this and then what we'll do is Come through to the different layers like the roughness and everything just set those up as pass through So I can now use this metal as a reference later up in my material there. So we can just turn off our base materials and turn on back on our plastic. So yeah so the first thing we want to do and if we're looking at our reference material here is we have these kind of bigger larger roughness stains. Those are very straightforward to do so we'll just say roughness or big roughness adjustments and some of these can also have color into them as well, but it's the same process as before where we basically just go over into our grunges here, and we're looking for something that can resemble some of the detail that we can see over in our references here. So we jump over to this one, you've got these kind of stain type looks, right? So we're looking for something like that which we can use, and a lot of these as well are adjustable with parameters and things so you could always put these in and then once you've got them in there then you can always just easily swap them out right so I usually go through the same process of adding them into the mask and then adding that into the fill sometimes you have to wait a second for this to adjust setting it up to be triplanar and tiling it these ones we're probably not going to want to tile as large as we did before because obviously this is going to be a big adjustment. So we do our roughness and everything here. You can see that we can start to get that feel really quickly by just kind of having a slightly brighter roughness. So that one is already feeling pretty good. And then we can do the color as well. For the color, I would usually just color pick off of the base color itself and then maybe darken down slightly or tweak the color of it, maybe just a little bit. So it's a bit more saturated potentially. Just play around and find something that you find works for you. Just don't go too crazy with the color. Otherwise it can break the PBR values. And also maybe just play around with a lower opacity on the color because I would definitely not wanna go too detailed with that. So that one's a good example of like how we can actually start to work that up. And then we can do the same. Sometimes it's nice to have the occasional one that's a little bit goes the opposite way, right? So we have something at the moment that's rougher, but now we can go with an effect like this type of one that we have, but instead of it being sort of rough, we're gonna actually make it shinier. So this one can just catch the light in places. So you can sort of see that there. We will need to experiment with the mask of this because we're probably not gonna want this to be coming in in loads of places. So that's why you wanna sort of experiment with just swapping these masks out for different versions and not having this appear in too many places. That's probably a pretty nice example. And you can build up as many of these as you want, but this is kind of the general idea for those like bigger roughness style adjustments. So next up after that, we do some edge, like larger edge adjustment type things. We don't have to do that. Those are kind of, that's an optional thing, but it's the same process as what we did in our original edges. Just, I think I did experiment with some slightly sort of more intense ones. So if we look at that, actually, let's just see what that does. So those global edges, let's turn off some of these dirt and everything. Yeah, so those basically just kind of darken the edges and create some effects and everything in there. So that's what we're doing with these global edges there. So it's creating much more of an obvious effect there. And I think with these, yeah, we have like more of an edge wear type of effect there. You can sort of see that. So that's basically what those do. Those are similar to these edge adjustments. So maybe we can just duplicate these ones up a bit and then experiment with the intensity of those. So let's try and go, I'm just gonna try and go like a bit more. All right, so that's the, that one I wanna do maybe more of the edges and just play with the dark, like these being a darker edge. So this could also be about the mask as well because we wanna have, we don't wanna have the same masks. We always wanna try and vary stuff up and have different masks and different generators. So I think the metal edge wear is actually the one I used for this to kind of get more of that sort of like staining on the edge so you can sort of see how that is looking which this is definitely more of a global kind of effect specific for this particular area because I wanted certain sections. Again, it's to kind of get this type of result where you see that it becomes darker in places that was like the impact I was trying to go for. So you can sort of see how that really helps that type of look. Okay and then next up I did the metal edge wear and the scratches and things like that. So for this one this is where we're going to actually use our mask or our material from the metal. So we want to come in here and we're going to select our base metal and then we're going to set this to be metallic which is going to bring in that base metal here and then we can turn everything else off so we can preview this and then for the roughness we'll also select the base metal roughness and this is that steel armoured material, right? So that's coming through and then if we just turn this on and off you can see that. And then for the edgeware what I mostly would do again is experiment with smart masks. I find some of these can be really helpful and then you can combine them together. So gun edges is really nice usually for sort of small type edgeware so it's not impacting things very much so we'll just remove that one so you can see here that's with the oops actually let me just reapply that but I want to apply that actually on my metal edgeware layer yeah so you can see this is the the gun edges and that's kind of how that looks and at the moment this is obviously very kind of in your face everything is very obvious so we can make adjustments to kind of how much of that effect we actually have kind of coming through there for the base material just by tweaking the opacity. That's kind of how that's going to look so we can sort of see that. And then so that's sort of chipping away the edges. The other thing you can also do is this is very binary in its mask so we we can always add grunges back into this to try to vary that up as well. So if we go for grunge and try and pick something that has a little bit of interest in there rather than a filter, let's just try and add a fill layer and we're just going to drag and drop that onto the mask. And then for this guy, we'll do the same thing as well, try planar. And I'm going to set this to maybe four and then we'll just do a subtract for this so that it's basically going to take away from that mask For these you probably want to keep this like a little bit larger And I probably am gonna select something just a little bit softer than that powdery result So yeah, so now you can see that this is just varying up So it's not always the same intensity kind of everywhere, right? That's something that's important for these types of masks to make them feel more natural So here we have that kind of edge wear type result and how that's looking. Remember that once we actually mask all of this are out as well. So this is going to be our painted metal. This one is the edge wear, sorry. So when we mask this in the end we're going to do a mask with a color selection. So remember that this is only going to appear in these areas. So you don't need to worry about it, what it It looks like on some of these tendrils and other things as well Just mostly on the the final kind of parts of the model if that makes sense So so yeah, so that's sort of roughly what I would say on the edge where and then you can then duplicate this up and try and have other Masks that you use as well. So we'll go for maybe edge where Here again, and we can maybe look at edge damages So just pulling these in and experimenting with the different ones you can sort of see the the type of edgeware results that these can give. So here's another one that also adds some nice interest and break up as well. And we can experiment with the overall globals of look of that and how much the textures are contributing to some of these effects as well. So we can just experiment with all of that stuff and get the result that we're after. So So yeah, I think that's looking pretty good. And then I would probably just copy this effect onto here as well. So where's our effect, paste the effect. So this one, again, we're just sort of breaking up the details and things with new grungers and new masks and everything. So something like that is already feeling pretty nice. So that covers like the basics of edge wear. We will also hand paint the edge wear as well because if we look at our references here, one of the things that's really nice is we have these little smaller chips which I've managed to get with some of those procedural results already. But then if we look at this one, we have these kind of scratches which are a lot more directional and they're much more specific detail that there's one scratch in a particular location. So we're gonna wanna do stuff like that a bit more as a hand-painted pass, right? So that's what I would say there. So that covers that stuff. And I think the last thing to go through is the dirt effect. So this one, again, we're gonna add in a new folder and we're gonna call this dirt or grease, whatever we wanna call it. I think I built up in my example different types of ones. I have like a general dirt. I have different grease types effects as well. So yeah, you can build this all up sort of slowly and over time as well. So cool. So you add a fill layer in for this one and we've obviously already got our dirt in here so we can come in and reference those again with our base color and everything and our roughness and get our, actually we needed to make sure, sorry, that we added a fill in there rather than that guy and then we'll come in with the dirt and then we'll do the same thing. So we'll have a, I think I was selecting the wrong dirt which is why it's coming in as, It's not actually coming in there. Okay, so now we have our dirt. So for this In the references that I had I had this idea of you know You obviously usually get dirt in recesses and crevices. So that's usually a good pass to do just generally for most models I tend to add dirt kind of into the recesses and the crevices sort of around objects and everything I usually find and that gives a nice look, but then in this particular case. I also wanted these kind of nice In the recesses you see that it kind of builds up and then we also get this like Staining effect on the edges as well. So you can see if I turn this one on Here from my references How that's kind of coming together. So we have a general sort of dirt that just kind of comes in everywhere You sort of see that then we have this grease effect and the grease if we turn these guys on you'll see that It has that kind of like darker It sort of builds up. I think I've actually tweaked this as well a little bit from what it is Originally, I think this one is the one that does the darker edges So was a little bit darker I think before but you can sort of see that it builds up that kind of darker staining Around the edges that was like the impact I wanted to get so when you sort of zoom in on some of these you can see that So so that's that's that kind of result and we'll go through kind of how I worked up these different ones So the first one is just like a general dirt and I would usually add Fill layers with the hue saturation here So I can tweak the darkness or the color of my dirt as well using the hue saturation And then again, you can use smart masks So we could search for say dirt and just try and pull these on and see What types of results and masks those are gonna give so you can see that this one is like? Quite a nice type of one here. We've got our dirt cavities So you can usually just pull these in drag and drop them on and try and find something that you think Looks pretty good like this one is not a bad like overall kind of dirt Although I'm not a hundred percent on my hue saturation. I'm not a hundred percent on my color tweaking that I've done here So we can just sort of experiment I maybe go like a little bit darker and a bit more red with that one But you can sort of see that can give us like a little bit of an overall kind of cavity style dirt. I also do generally like using the standard generator because this one has like a nice It's just easy to tweak as well how you want it So you get this kind of overall style dirt You can change like the amount of this you can change the contribution of grunge And the scale of the grunge and everything and then tweak say the contrast and you can use this just to get the Particular visual that you're after so I do really like using that one as like an ambient style here. So that's sort of how that is looking overall, which is cool. And then to build up our edge style dirt, or the one where we create like darker on the edges and everything. That one is easy to do as well. We just again, we need a mask. So for this, we want something cavity based. So maybe it's like dirt cavities, we could pull that one in and see what that can give us. Yeah, So this one is already giving us like a nice kind of cavity style mask, which is which is good So we can tweak from this cavity by having sort of you know adjustments to the ground adjustments to the levels and we can try and get something that's like Giving us that dirt and usually for this as well. I just make it really dark so we can see Where it's actually impacting stuff and then we can adjust it later, right? So we're just starting to see where it's coming in and it's looking pretty good But you know when you look at stuff like this, it's not everywhere on the mass So we need to have other ways to break that up like we did before So what I would usually do is the same kind of thing As I had done before with some of my other effects where I have these grunges so we can just copy this effect and then paste that effect in here and you can see that we can now kind of use that to basically break things up more on that mask and we probably would want to tweak this because we don't want it to be completely eradicating the mask everywhere we just want it to sort of take away in some of these places right so you can sort of see how that's we're building that up here as well and then we can always experiment with expanding that mask a little bit and you can sort of see how that's building up these nice shapes. One of the other things I like to do as well is I'll use the slope blur. So we'll just come in with the blur slope and this can be a really nice for breaking up those edges even more and we're going to be playing around with maybe setting that to a min or a max effect. So that can just break up that dirt mask even more with the type of look that we want to go for. Because if you look at this particular area, we have this kind of more undulated sort of warped look to things. So that can be pretty nice to get that sort of effect. We can also add maybe a let's try and add say a contrast to this as well so we can get much more of a contrasted mask which we can start to actually visualize how things are looking. So this could definitely work quite nicely already with some tweaking to this to sort of experiment a bit more with how much we're actually revealing here but this is already giving us that kind of darker dirt around the edges. So from that now what we would do is tweak back into a range where the dirt actually kind of makes sense and you can and now see that we have this dirt here. And then how do we go from this to having some more of those edges? So the way to do that is to add an anchor point to this. So this is gonna be our edge dirt. So we'll add an anchor to this. And then I'm gonna just duplicate my layer again and I'm just gonna cancel out the mask and add a fill in there. So we'll take our edge dirt And now we can see we have our edge there, which is looking pretty good. So from that, we've got our mask here. We're gonna use another filter. So we wanna take our filter here and we wanna search for mask outline. And this is basically gonna take the mask that we've just generated and turn this into an edge, right? So you can sort of see that there. So as we add this on top, we can then now darken down our texture. and you can see that this is giving us this nice edge to the dirt, which is pretty cool. And we can tweak those values of that mask. So we can experiment with the width of that. We can experiment with blur. You can experiment with the shape that you're getting from it and everything. And I like to as well, you can see that it's almost like a beveled result. So if you didn't want that, you can just add a filter again and maybe play around with say a contrast. So if we do that here, we can just contrast that mask. So now it's like a nice thick line that's going around everything, which is pretty good. And then a lot of the effects that we had before, so say the slope blur and the grunges, we can then bring those kind of back in on top to vary that up. So we now have some slope blur type stuff that's breaking this up, and we also have this grunge that's breaking this up. And then the value of this, we wanna make it darker, but we don't want it to be as dark and maybe we can play with the saturation of that to kind of experiment with it standing out a little bit more, right? So you can sort of start to see how that works. And then it's just a case of tweaking the settings we have. So with the mask outline, we have that guy there. We have our contrast on the mask outline. I'm gonna tweak the values and things of this a little bit so we can get it a little bit darker. So yeah, and then that's starting to resemble this kind of like look, right? Where we can see it sort of, yeah, built up like that. So that's basically the way I worked with this particular result. And then we can come in with our grunge overall that sort of breaks things up. And we can check our mask at all times as well just by clicking the mask and experimenting with that. And then we have our slope blur as well. I think I'm gonna tweak the slope blur intensity bit. So yeah you can kind of see how we're starting to build up that sort of look and the feel and then if you want to to kind of overall well if you want to overall break this up you can just come back over to your grunge map and increase or decrease this so you can see that we can reduce the amount of that that dirt build up or if we just want a overall because at the moment that still feels like it's, because we add the contrast, that still feels like it's getting pretty binary. So we could add another one over the top of this, kind of after the contrast, which is just gonna give us like more of a softer break up on some of these as well. And again, you can play around with the opacity of that and everything, tweaking things, and just experimenting more with this guy, maybe going for less contrast on that as well. So we can just start to break this up with some more grayscale values, because that's one of the things that can be that can really help with this type of stuff is you don't want everything to be binary all the time. It's nice to kind of vary that up. So you can see here just by adding this guy in, that's taken those masks to just feeling a bit softer in some places. That can really help when it comes to that like break up of the different masks and things. And you can sort of see how that's looking, right? So yeah, so that brings in the sort of edge of this, the end of this particular material. And then for the metal edge wear, right, that we have here, the one that we created, to mask that into those sections, like that's really easy to do as well. We can just come in with our metal assignment, let's make it metal assignment. And I'm just gonna add in a fill layer with sco fill. fill and then I'm going to come in with that metal. So with our base metal here and then we'll say metallic and then we'll say roughness and we'll choose the base metal right and then from there we can just assign add a mask to this and we'll do a, actually a mask with color selection and we'll just pick the green section. So that's assigning the metal to those areas. We would probably want to work that metal up a little bit more like I had done in my previous example, but we've shown a lot of the techniques for doing that so far in the class already. So this is like we're bringing this together, this is now our base materials. I'm not going to cover the other base materials I did because again those are kind of the same process. So I have a brass and a painted metal so we can assign those in now as well, but the same process basically for getting all of this stuff together. So if I just come over to my smart materials, I have this tarnished brass so we can assign that in there. And again, these are all built in exactly the same way as they were for the main materials, right? So if I just bring this in here, we can see that we have our our brass in those areas and then we can also do the yellow painted one as well so I'll just pull this in here and this is just going to build up the the base materials and you just assign them using the material assignment color ID selection right if you wanted as I mentioned if you want to change the assignment of these we'll just reveal that mask let me turn that one off. If you wanted to come in and say assign a different section to that brass material, it's just a case of doing that and you can assign it really easily. And then if you don't want that, you can obviously just remove the paint effect, right? So now at this sort of stage of the lectures, we should have our base materials figured out for our plastic and metal, and then you would definitely want to just take a quick pass on the other one. So I would probably do a little bit more into this with say dirt and things like that. But this should get us into a good place so now we can start on some more of our specific details like our hand painted details and things like that."
+    }
+  ]
+}