![marmoset toolbag 3 glossiness marmoset toolbag 3 glossiness](https://inspirationtuts.com/wp-content/uploads/2021/11/7-1-1024x606.jpg)
- MARMOSET TOOLBAG 3 GLOSSINESS UPDATE
- MARMOSET TOOLBAG 3 GLOSSINESS PLUS
- MARMOSET TOOLBAG 3 GLOSSINESS FREE
Painting splat maps in unity is kind of painful to do by hand. I managed to get the Bcore color macro to export a nice base for a splat map, but it wasn't perfect so I ended up doing a lot of extra work on the splat map in photoshop as well. This generates a lot faster too, esp at 4K. Initially I had trouble getting the bcore color script to work when I tried hooking up my nodes in world machine, so instead I used the sample file included with bcore and simply plugged my already generated height map into it.
![marmoset toolbag 3 glossiness marmoset toolbag 3 glossiness](https://resources.turbosquid.com/wp-content/uploads/2018/11/BestPractices_Image03-512x512.jpg)
Here is my terrain in WM with the base color generated: You can alternatively sculpt your terrain in unity, or sculpt in a 3d sculpting app as well but I find WM to give the fastest and best results, though the learning curve can be a little steep.
MARMOSET TOOLBAG 3 GLOSSINESS FREE
World Machine is awesome and I think you can generate lower res (limited to 1024?) textures even with the free version.
MARMOSET TOOLBAG 3 GLOSSINESS PLUS
I figured I would give a sneak peak here of what it looks like, plus a rundown of how I created the content.įirst off I used World Machine to build the terrain base (heightmap) and this sweet macro to generate your color overlay.
MARMOSET TOOLBAG 3 GLOSSINESS UPDATE
I've been working on some terrain content to show off the upcoming terrain shader that will be included in the next update of Skyshop. I wrote a few posts there about PBR in Toolbag 1 and 2 which will probably be of interest as well: Now as far as PBR goes, there is a good thread over at polycount on PBR: Dirt, rust, oxidization, dust, scratches, etc are examples of material variation that would give you content other than flat colors in your spec/gloss (and diffuse really). Usually your spec and gloss content will both have plenty of variation, as materials to not tend to be splotless in real life. There really aren't any rules to what content goes into the spec or gloss maps, other than basic logic of "How reflective is this surface?" which determines the specular content, and "How rough/smooth is this surface?" which determines the gloss content. As such, it should contain content that describes the surface for each material, again if you have a painted metal surface with scratches that reveal the bare metal, the gloss content would be brighter in the scratches.
![marmoset toolbag 3 glossiness marmoset toolbag 3 glossiness](https://preview.free3d.com/img/2018/01/2145017298077877274/tyte7yv4-900.jpg)
The gloss map is just that, a map of the roughness or glossiness of the surface. Many of the values you have in your gloss map should also be represented in your spec.ģ. Specular maps are really just a base reflectivity map, any areas of your material that would be more reflective, say scratches on a painted surface that reveal the bare metal underneath would be a bright value in the spec map. Toolbag 2 has screen space reflections, and in that case you can drop the AO from the spec and it works a lot better. Its good to have a bit of AO in your spec map, otherwise you get strange reflections which would be occluded in real life (as Andres mentions, if you have a proper reflection occlusion map that would be even better than AO for spec content, but ao works in a pinch). Specular maps should not necessarily be completely flat. Diffuse textures should contain AO though, if we get AO in as a separate texture input at some point this will not be the case.Ģ. Diffuse textures should not contain any directional lighting information. On real-life materials, the apparent intensity of specular reflections are mostly controlled by this side-effect of gloss.Ĭlick to expand.Sorry, but I have to jump in say that this isn't entirely correct.ġ.
![marmoset toolbag 3 glossiness marmoset toolbag 3 glossiness](https://cdnb.artstation.com/p/marketplace/presentation_assets/000/320/879/large/file.jpg)
One of the distinguishing features of physically based rendering is that specular reflection energy is conserved if the specular highlight is bigger, the overall appearance of it is dimmer as the same energy of light scatters in a wider cone. However differences in materials contained within the same texture sheet (leather parts, metal parts, plastic) should ideally go in the gloss map as most materials vary greatly in their surface "roughness" but not as much in straight-up specular intensity. Specular occlusion, if used, should also go in the specular mask channel. Neptune is right in that the specular mask should mostly be a solid color, though it can still contain dirt and grime. Gloss is akin to Unity's shininess slider. There are two textured controls for specularity, the specular mask (RGB) which colors or masks the specular highlight, and the specular gloss (Alpha), which controls the size and shape of the specular highlight. Click to expand.I should make a clarification here.