WEBVTT

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Animation advanced
3D Character Mapping

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Hello

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This is Seunghan Yoon for the Maya modeling class

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The shading process almost entirely utilizes textures

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Texture creation in the animation industry

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mainly used Photoshop in the past, but these days

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along with the use of high-quality texture sales sites

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a powerful texture creation program,

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Substance Painter became the industry standard

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Substance Painter is different from Photoshop

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You can work directly on the 3D display

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and various materials are provided

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And color, roughness, and normal texture

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production and creation are done all at once

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Not only in the animation industry

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but also in many video production companies, including games,

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it is one of the favorites

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However, this video is about learning about Maya's functions

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so I'll just mention it here

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In this course, we will learn about the basic shaders of Redshift

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with textures available on free sites

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The learning objectives for this lesson are UV theorem and

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expressing various textures using textures

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The learning content is

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First, efficiently spread and organize UVs

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Second, expressing textures through shaders

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Efficiently deploy and organize UVs

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Shading work is the process of creating a gray polygonal mass

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and adding more realistic colors and textures

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We mainly use textures, but

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depending on the style of the animation, instead of textures,

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there are many cases where work is done only with coloring

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We are going to do shading using color and texture

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Before we get into shading

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First, you need to unfold the UV of the model

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No special techniques are required to unfold UV

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I think you just need to be aware of a few things

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For reference, this lecture is conducted on the assumption

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that you are familiar with the basic functions of Maya

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Please note that the lecture will proceed

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beyond basic functions, focusing on work tips

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First is things to keep in mind when working with UV

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When cutting UV, we will cut mainly the invisible parts

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The basic objects provided in Maya are

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originally created with the UV spread out from the beginning

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There is something here that you need to pay close attention to

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UV and vertex correspond to each other, but

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It's not necessarily the case that the UVs match the number of vertices

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If you look here

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If you select one vertex,

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On a 3D display, there is only one vertex

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If you look at this in the UV editor window,

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The UV point are two of them

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This UV is

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the part that is separated during the unfolding process of the 3D objects

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Just like a globe and a world map

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The edge of this separate part

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The edge of this separated part is called a seam

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This, this

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Let's try applying a texture here

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Search for Lambert in Maya in Hyper Shaders

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Load the checker file

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To put it simply, the checker file

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There are a series of rectangular shapes like this

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It refers to a file that is literally made in the shape of a checker

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in the form of numbers or squares

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to check for sagging or interlocking parts of the face

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If you look at the seam part

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The textures of the seam do not mesh with each other

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You can see that they are connected with completely different textures

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This scene is a very noticeable part of the actual video

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So it must be corrected

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If possible, cut in a place where the UV seams are not visible

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This will reduce the chances of these parts being noticeable

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For example, when making a costume, there are cases like this

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Here are two clothes

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There is little difference between these

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I just left a sewing mark on the fabric on the right

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There are no sewing marks on the clothes on the left

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On the right one, I modeled the sewing traces

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If you check with the UV editor

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UV is divided into two sides, front and back

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The UV parts are separated from each other

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So, if you check it on a 3D display,

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The places where the fabrics interlock look awkward

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It feels like the picture is cut off

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In this case, the solution is to model the sewing line

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If you make the invisible edge part of the modeling into a seam,

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Modeling is also expressed in more detail

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and it will also look more intricate

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And a lot of the awkward parts will disappear

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The seam position of all modeling must preferably be on

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The back side rather than the front side, the bottom side rather than the top side

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and on the hidden edges rather than the exposed parts

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Those are the preferred placements

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The second is minimizing UV incision

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There is some part that is similar to the previous content, but

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The more cut surfaces there are, the more likely it is

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that the part will be visible

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Unfolding UV means making 3D into 2D

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In this process, distortion inevitably occurs

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When distortion occurs, the resolution of the texture of that part

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and the appearance is significantly impacted

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Therefore you need to cut the UV in the right place

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A place like this that catches the eye

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Just because it's a joint

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doesn't mean that the texture must be cut there

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In the middle or somewhere visible like this

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If you cut it without any reason

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You'll see a lot of misaligned textures

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Mainly in the case of characters or costumes

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Make an incision at the large joint

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Incisions are made on the neck, shoulders, waist, hands, feet, etc

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Third, minimize empty space in the UV window

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When each texture is rendered

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This may be the reason for increasing the time

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To optimize assets as much as possible

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It should be created with minimal UV shell space and empty space

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All the parts I'm selecting now are UV shells

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But these empty spaces next to UV

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It's wasted space

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If space is running out by a small margin

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Reduce the size of some UV shells as a little trick

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However, even if you reduce it,

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is must be where it is not as noticeable

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For example, inside the mouth, inside clothes

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or parts like the soles of shoes are some examples

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If you can secure more space

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It is also a good idea to straighten and spread the UV shell

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If you look at the sleeve part around the neck,

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In fact, if you unfold this as it is,

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This kind of curve shape comes out

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These parts, now, we have a lot of space left

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so we can place it like this

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but if there is no space

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It would be better to straighten this part and place it

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However, straightening it requires a bit of work

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In my case, I often use straight shell commands

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When you can't get it straight the first time

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It will be easier to split the work into several parts

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Third, directionality in 3D displays

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and the directions in the UV editor is better when aligned to each other

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This is not mandatory though

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This will make working with textures a bit easier

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Let me explain what it means

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Shoulders are facing upward

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The left shoulder is also facing upwards

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It is recommended to place them facing the same direction

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in the UV shells as well

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The shell part of the body also has the neck part facing upwards

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The part on the back also has the neck facing upwards

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Then, the direction of the shell in the UV editor

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is better with them face the same direction

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This directionality must be placed

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while considering the pattern of the texture

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If the same type of UV shells are in different directions,

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There may be one more extra task

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For example, let's say you have one arm positioned horizontally

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So what does it look like when actually rendered?

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The pattern of this texture is vertical

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The texture pattern on the arm is also vertical

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But the arm side that was placed horizontally earlier

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The textures are connected in a horizontal shape

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If it becomes like this, with Photoshop or Substance Painter

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I need to work on the texture again

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Please keep the three points mentioned in mind:

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while working on UV

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and there will be fewer things you'll have to re-edit later

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So now let's start modeling

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Let's try UV work

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The scene you are seeing now

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For the part of the ear where it is attached to the head

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I cut it separately because I thought it would be severely distorted

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When cutting, it is important to cut the parts that are not visible to the eye

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or mainly around the corners

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When you first check the UV, the UV connection is

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all messed up

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In this case, just go to the UV menu

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and shoot Planar or Normal Based Projection

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and create the seams one by one

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While working on UV

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You may find some mistakes

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that didn't notice when modeling

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In practical situations, in urgent situations,

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being passed onto rigging with only polydon modeling done can happen

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As the animation progresses, the modeling team

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creates textures and merges them just before rendering

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It's a bit risky, but it is often used in a hurry

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In this case, don't pass it right after modeling

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I recommend that you do the UV work and then pass it on

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That is because when working with UV, you can spot

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parts of the model where there are mistakes

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For efficient use of space

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I spread the UVs as straight lines as much as possible

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There may be some texture distortion, but

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I spread it out in a straight line since it is not easily visible

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If the modeling is duplicated

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Because the vertex numbers are the same

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Via Transfer Attribute

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You can duplicate UV

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The incision was made mainly in the invisible parts

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like the armpits, inner legs, soles, etc.

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This character doesn't have textures on every parts

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but in practice, there may be situations where textures are added later

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For example, if a dirty map is added to the body,

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Or, there may be cases where doodles or something like that gets included

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That's why we recommend that you do

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UV in such a meticulous way

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Just like a polygon has a front and a back face

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UV shell also has front and back

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You can check by pressing key 4 in the UV window

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If it's marked in red, it's on the back

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Just because you can see the back

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It's not like there's a huge problem, but

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If possible, please spread them all out to the front

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When a normal map is applied, if it is applied inverted

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That part will come out different from other parts

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with contrast can be included

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If there is space left, focusing on important parts like

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eyes, nose, mouth, face, and hands

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you can enlarge them a bit and place them

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The face and hands are the areas that the camera captures the most

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which makes them very important parts

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For texture detail

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You can enlarge them only if there is space left

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When you think that the UV work has been done to some extent,

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Finish by checking using the checker map

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Expressing textures through shaders

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After finishing UV work

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before we get into the shading,

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Let me briefly talk about shaders

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In the early days, there were separate shaders for each material

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Basic shaders, plastics, metals, skins, glass, etc

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But these days, with just one shader

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we can express many materials

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Especially since the introduction of PBR-based rendering systems

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There is now a single established standard shader

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For reference, PBR stands for Physically Based Rendering

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and it is a method of rendering by simulation

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of how actual light reflection physically occurs

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Simply put, the reflection of light in the real world

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is implemented

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Back to the topic, not only Redshift

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but all renderers, including V-Ray and Arnold,

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have one standard shader each

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Open the hyper shader

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If you look at the redshift shader in the section below,

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Here's a glowing material

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If you don't see this part

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go to Windows - Settings/Preferences - Plug-in Manager

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and check if redshift4maya is enabled

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If you look at this material,

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It says redshift material

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As the most used shader,

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Let's learn about this shader

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Let's take a quick look at this simple image:

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We see the visible light of sunlight

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to be the color closest to white

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In this explanation, we will assume it is white

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If we analyze this white light through a prism,

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It is divided into several colors

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into rainbow colors we commonly know

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that is, red, orange, yellow, green, blue, indigo, purple

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There is a sun and an object reflecting light

265
00:19:54.175 --> 00:19:57.675
 And then there are our eyes that receive that light

266
00:19:59.325 --> 00:20:02.325
Light that contains many colors

267
00:20:02.325 --> 00:20:05.425
will hit the surface of the object

268
00:20:05.425 --> 00:20:09.375
At that moment, light reflects in several different ways

269
00:20:09.375 --> 00:20:13.225
First of all, some of the light is absorbed by the object

270
00:20:13.725 --> 00:20:15.925
One of the things that was trending on the internet

271
00:20:15.925 --> 00:20:17.975
is something called Vantablack

272
00:20:17.975 --> 00:20:22.325
In this case, 99 9% of the light is absorbed

273
00:20:22.325 --> 00:20:26.875
This part alone feels unrealistic and hollow

274
00:20:26.875 --> 00:20:29.625
This is a good example of light absorption

275
00:20:34.875 --> 00:20:39.425
And some of the light is reflected back directly from the surface

276
00:20:39.425 --> 00:20:41.875
This is Reflection

277
00:20:41.875 --> 00:20:44.375
Some of the color received from the sun

278
00:20:44.375 --> 00:20:47.675
reflects as white and enters our eyes

279
00:20:48.425 --> 00:20:51.775
The smoother the surface texture,

280
00:20:51.775 --> 00:20:54.925
the more you can feel the shape of the light source as it is

281
00:20:58.625 --> 00:21:03.375
The rougher the surface, the more blurry the Reflection will feel

282
00:21:03.375 --> 00:21:06.975
By scattering light we can measure the roughness of a surface

283
00:21:06.975 --> 00:21:09.525
with our eyes

284
00:21:09.525 --> 00:21:14.125
This is expressed as glossiness or roughness

285
00:21:14.125 --> 00:21:17.775
It is a very important element in expressing the texture of an object

286
00:21:18.625 --> 00:21:21.125
Looking at the material of Redshift

287
00:21:30.325 --> 00:21:32.425
There is a Reflection item

288
00:21:34.225 --> 00:21:36.975
The color is usually set to white

289
00:21:36.975 --> 00:21:40.075
If it's a normal material, not a metallic material

290
00:21:40.075 --> 00:21:43.675
Most reflect light in a color close to white

291
00:21:44.325 --> 00:21:47.425
If you want to reduce the intensity

292
00:21:47.425 --> 00:21:49.725
You just need to decrease weight

293
00:21:51.025 --> 00:21:55.225
Roughness below literally means the degree of roughness

294
00:21:55.225 --> 00:21:57.825
So the higher the number,

295
00:21:57.825 --> 00:22:00.875
the hazier the reflected light becomes

296
00:22:00.875 --> 00:22:02.975
The lower it gets, the light reflected

297
00:22:02.975 --> 00:22:04.925
will be clearer

298
00:22:05.675 --> 00:22:08.525
There is something here that you should pay attention to

299
00:22:08.525 --> 00:22:10.125
It's a Fresnel Type

300
00:22:13.825 --> 00:22:16.425
Fresnel is the concept that when an object reflects light

301
00:22:16.425 --> 00:22:19.375
Depending on the angle between the observer and the object surface

302
00:22:19.375 --> 00:22:22.025
the reflectivity changes

303
00:22:28.775 --> 00:22:30.625
If you look at the picture

304
00:22:30.625 --> 00:22:34.625
The angle between the line of sight and the normal direction of the object's surface

305
00:22:34.625 --> 00:22:39.425
ranges from 0 to 90 degrees

306
00:22:39.425 --> 00:22:42.525
The left side of the graph is reflectivity

307
00:22:42.525 --> 00:22:47.175
Below is the normal direction of the surface and the angle with the eye

308
00:22:48.475 --> 00:22:50.275
From the perspective of the eyes

309
00:22:50.275 --> 00:22:53.975
When light hits an object and enters the eye

310
00:22:53.975 --> 00:22:58.275
If this angle is 0 degrees, then this 0 degrees is this way

311
00:22:58.275 --> 00:23:01.375
Here, the angle between the eye gaze direction and the object normal direction is

312
00:23:01.375 --> 00:23:04.425
90 degrees which refers to this part here

313
00:23:06.675 --> 00:23:11.975
As you can see, the reflectivity is low at 0 degrees

314
00:23:11.975 --> 00:23:15.975
As you go to 90 degrees, the reflectivity increases rapidly

315
00:23:17.175 --> 00:23:19.275
Just like this image

316
00:23:23.025 --> 00:23:25.625
Almost all objects except metal

317
00:23:25.625 --> 00:23:29.025
increases in a gentle curve like the graph

318
00:23:29.025 --> 00:23:31.575
That is, assuming the shape of a sphere

319
00:23:31.575 --> 00:23:34.925
The edges reflect more brightly

320
00:23:34.925 --> 00:23:37.125
Back to Maya again

321
00:23:37.125 --> 00:23:39.625
In the case of general materials,

322
00:23:39.625 --> 00:23:42.725
it uses Fresnel Type IOR

323
00:23:42.725 --> 00:23:47.625
but for metals, you can see here that we set the Metalness

324
00:23:47.625 --> 00:23:51.925
The IOR of metals is a little different from that of non-metals

325
00:23:54.675 --> 00:23:57.325
As you can see from the graph

326
00:23:57.325 --> 00:24:00.675
Strong reflections were created from the beginning

327
00:24:00.675 --> 00:24:03.125
but then reflectivity drops around here

328
00:24:03.125 --> 00:24:05.325
Then again, the closer it gets to 90 degrees,

329
00:24:05.325 --> 00:24:07.975
You can see it rising rapidly

330
00:24:09.875 --> 00:24:12.625
To express this unusual reflectivity,

331
00:24:12.625 --> 00:24:15.675
Rather than using the general IOR type,

332
00:24:15.675 --> 00:24:19.375
a separate type called Metalness is made and and set up

333
00:24:20.725 --> 00:24:23.875
If the strength of Metalness

334
00:24:23.875 --> 00:24:27.375
is 0, it means it is non-metal

335
00:24:27.375 --> 00:24:31.125
If this is 1, it means it's metal

336
00:24:31.125 --> 00:24:36.275
So what are these medians?

337
00:24:36.275 --> 00:24:39.425
If it's a metal, it's metal, and if it's a nonmetal, it's a nonmetal

338
00:24:39.425 --> 00:24:41.425
You may feel confused

339
00:24:44.275 --> 00:24:46.175
I think of it this way

340
00:24:46.175 --> 00:24:49.975
Let's assume we are painting on pure iron

341
00:24:49.975 --> 00:24:52.925
The paint has the same IOR as the plastic

342
00:24:52.925 --> 00:24:57.575
When you paint it, the paint has a non-metallic feel,

343
00:24:57.575 --> 00:25:00.175
but if you apply it thinly, the metal underneath

344
00:25:00.175 --> 00:25:02.075
will be revealed to some extent

345
00:25:02.575 --> 00:25:05.275
If I paint it again

346
00:25:05.275 --> 00:25:07.675
The feel of the metal remains only slightly

347
00:25:07.675 --> 00:25:10.475
The paint will leave a stronger impression

348
00:25:10.475 --> 00:25:15.275
If you apply one more layer, there will be no metallic feel at all

349
00:25:15.275 --> 00:25:18.225
Only the feel of the paint will remain strong

350
00:25:21.275 --> 00:25:24.625
This item is so expresses the intermediate levels

351
00:25:24.625 --> 00:25:26.325
of metal and non-metal

352
00:25:26.325 --> 00:25:29.725
in a form of a slider

353
00:25:29.725 --> 00:25:32.075
To give the feel of the paint coating being weathered by the ravages of time

354
00:25:32.075 --> 00:25:35.675
and being peeled or worn out in some places

355
00:25:35.675 --> 00:25:38.825
If you use a texture by connecting it here,

356
00:25:38.825 --> 00:25:41.774
You will be able to express that effectively

357
00:25:42.124 --> 00:25:47.224
Back on the path of light reflection, some of the light

358
00:25:51.674 --> 00:25:54.824
Among the sun's wavelengths of red, orange, yellow, green, blue, indigo, and violet

359
00:25:54.824 --> 00:25:57.224
Reflects only a specific part of the wavelength

360
00:25:57.224 --> 00:25:59.024
and some are absorbed

361
00:25:59.424 --> 00:26:03.874
The wavelength of the light reflected at this time determines the color

362
00:26:03.874 --> 00:26:06.324
The color of an object

363
00:26:06.324 --> 00:26:10.624
We think that color itself has its own unique properties

364
00:26:10.624 --> 00:26:13.724
Let's analyze this a little more deeply:

365
00:26:13.724 --> 00:26:16.724
The color of an object is determined by its unique characteristics

366
00:26:16.724 --> 00:26:20.174
It just reflects light of a certain wavelength

367
00:26:20.174 --> 00:26:22.524
We call this Diffuse

368
00:26:22.524 --> 00:26:27.824
You can express the color of an object with diffuse color

369
00:26:29.724 --> 00:26:31.624
Diffuse is also the most important part

370
00:26:31.624 --> 00:26:34.874
used shading

371
00:26:34.874 --> 00:26:38.674
Back in Maya, go to the Diffuse item

372
00:26:38.674 --> 00:26:42.025
You can specify the color here

373
00:26:48.174 --> 00:26:53.124
Sometimes you can even link textures

374
00:26:58.574 --> 00:27:00.674
The Weight value is 1 by default

375
00:27:00.674 --> 00:27:03.524
This is a setting that is not touched much

376
00:27:03.524 --> 00:27:06.574
The roughness below, depending on the roughness of the surface,

377
00:27:06.574 --> 00:27:08.874
changes the feel of the diffuse

378
00:27:08.874 --> 00:27:12.924
It is mainly used to express materials such as velvet

379
00:27:12.924 --> 00:27:16.574
Some of the next light penetrates the surface

380
00:27:16.574 --> 00:27:19.624
and will reflect inside the object

381
00:27:19.624 --> 00:27:23.674
If you magnify an object, you will see that there are a lot of particles

382
00:27:23.674 --> 00:27:25.874
Among them, in the case of the skin of a living creature

383
00:27:25.874 --> 00:27:27.974
It is mostly filled with water

384
00:27:27.974 --> 00:27:32.174
Light penetrates deep into the skin

385
00:27:32.174 --> 00:27:36.074
This light collides with countless particles inside

386
00:27:36.074 --> 00:27:38.574
and comes out of the skin again

387
00:27:38.574 --> 00:27:42.774
We call this Subsurface Scattering

388
00:27:42.774 --> 00:27:45.424
This characteristic is widely used in objects that allow

389
00:27:45.424 --> 00:27:50.924
light to pass through to some extent like living things

390
00:27:52.024 --> 00:27:54.274
Let's take a look in Maya

391
00:28:06.724 --> 00:28:11.224
Subsurface Scattering can be seen in this section

392
00:28:11.224 --> 00:28:17.224
The object on the left has its total amount set to 1

393
00:28:18.224 --> 00:28:23.124
And the object on the right is set to the default value of 0

394
00:28:30.924 --> 00:28:36.974
When we say that the total amount of subsurface scattering is 1

395
00:28:36.974 --> 00:28:40.574
it means that Subsurface Scattering is enabled to the maximum

396
00:28:40.574 --> 00:28:42.874
Let's try rendering

397
00:28:55.824 --> 00:28:58.924
If you look at the rendered result,

398
00:28:58.924 --> 00:29:03.174
You can see the characteristics of subsurface scattering

399
00:29:03.174 --> 00:29:05.774
Because light undergoes multiple scattering movements

400
00:29:05.774 --> 00:29:08.574
It reflects in various directions

401
00:29:08.574 --> 00:29:11.974
Shadows also have blurred boundaries for that reason

402
00:29:11.974 --> 00:29:15.474
It is also expressed by mixing in the color of the object

403
00:29:15.824 --> 00:29:19.924
If you look at this side, compared to the object on the right,

404
00:29:19.924 --> 00:29:26.174
The dark parts are spread out a bit more smoothly

405
00:29:26.174 --> 00:29:29.774
There is a slight color value mixed inside

406
00:29:32.874 --> 00:29:34.924
To better see the shadows

407
00:29:34.924 --> 00:29:37.174
Let's try rendering again

408
00:29:37.174 --> 00:29:39.325
after putting an object on top of this

409
00:30:21.774 --> 00:30:24.824
If you look at the render result again,

410
00:30:24.824 --> 00:30:28.624
The expression of the shadows is a bit more distinct

411
00:30:31.624 --> 00:30:34.024
Because the light is reflected from inside

412
00:30:34.024 --> 00:30:35.274
The shadows are getting lighter

413
00:30:35.274 --> 00:30:38.174
and also give a blurred feeling

414
00:30:39.774 --> 00:30:41.424
In the case of human skin,

415
00:30:41.424 --> 00:30:45.574
Because the composition of the outer and inner surfaces of the skin are different

416
00:30:45.574 --> 00:30:48.174
The colors on the outside and inside also differ

417
00:30:48.174 --> 00:30:50.324
The color of the inner part

418
00:31:03.824 --> 00:31:07.424
You can change the color in this layer

419
00:31:07.424 --> 00:31:10.574
I'll set it to red to make it stand out

420
00:31:16.874 --> 00:31:18.775
Let's try rendering again

421
00:31:56.874 --> 00:32:00.274
The render result is out, but the sampling value is low

422
00:32:00.274 --> 00:32:02.874
which made it come out a little messy

423
00:32:02.874 --> 00:32:05.474
Let's adjust the sampling value and try again

424
00:32:06.524 --> 00:32:10.724
I adjusted the sampling value and re-rendered it

425
00:32:10.724 --> 00:32:13.724
If you look at the dark part of the shadow

426
00:32:13.724 --> 00:32:16.824
You can tell that there is a red feel to it

427
00:32:16.824 --> 00:32:23.024
This part is not directly exposed to light

428
00:32:23.024 --> 00:32:24.974
and only the surrounding lights come in

429
00:32:24.974 --> 00:32:28.674
which makes it have light come out reflected from inside

430
00:32:28.674 --> 00:32:32.874
Because it has a red color inside and reflects that

431
00:32:32.874 --> 00:32:35.225
It gives off a red hue

432
00:32:37.674 --> 00:32:40.624
This complex skin texture

433
00:32:40.624 --> 00:32:44.074
by using more layers here

434
00:32:44.074 --> 00:32:47.124
can be edited more elaborately

435
00:32:47.574 --> 00:32:50.774
There is no exact answer to these numbers

436
00:32:50.774 --> 00:32:53.774
Depending on the individual or according to the studio's internal manual

437
00:32:53.774 --> 00:32:55.724
It may vary

438
00:32:57.274 --> 00:32:59.574
Back to the next light shift

439
00:32:59.574 --> 00:33:02.224
Some of the light passes through objects

440
00:33:02.224 --> 00:33:04.474
It may come out the other way

441
00:33:04.474 --> 00:33:08.724
This case is also called Backscattering

442
00:33:08.724 --> 00:33:12.124
Depending on the renderer, this may be specified separately

443
00:33:12.124 --> 00:33:14.574
In Subsurface Multi Scattering

444
00:33:14.574 --> 00:33:17.724
There is also a way to create it by adding layers

445
00:33:17.724 --> 00:33:20.174
It means the same thing in the end

446
00:33:23.474 --> 00:33:26.874
Let's go back into Maya and do a quick test

447
00:33:29.524 --> 00:33:32.174
Here is a simple object

448
00:33:32.174 --> 00:33:34.124
First, I light the object

449
00:33:34.124 --> 00:33:37.874
with a strong light from behind

450
00:34:25.774 --> 00:34:28.624
Here is the result of the render

451
00:34:30.074 --> 00:34:32.124
To make the color distinction clear

452
00:34:32.124 --> 00:34:34.624
I intentionally added

453
00:34:35.774 --> 00:34:40.274
red to the Subsurface Scattering layer to this object

454
00:34:41.274 --> 00:34:43.024
But if you look here,

455
00:34:43.024 --> 00:34:45.774
Only the right part is slightly red

456
00:34:45.774 --> 00:34:49.574
Overall, the original color, turquoise, is maintained

457
00:34:51.124 --> 00:34:56.774
As you can see here, the thickness of the objects is different

458
00:34:56.774 --> 00:34:58.424
Do you know why?

459
00:35:02.324 --> 00:35:05.974
The thinner the thickness, the easier it is for light to pass through

460
00:35:05.974 --> 00:35:09.074
The color is more visible during transmission

461
00:35:09.074 --> 00:35:13.424
The thick part has significantly less red parts

462
00:35:15.774 --> 00:35:19.224
The thin part allows light to come in from behind

463
00:35:20.824 --> 00:35:26.474
Because it is thin, it comes out with a red color

464
00:35:26.474 --> 00:35:29.824
The red hue feels stronger

465
00:35:31.024 --> 00:35:34.724
This was a rough explanation of the movement of light

466
00:35:34.724 --> 00:35:37.424
Back to Maya

467
00:35:37.424 --> 00:35:40.124
Let me explain another important part

468
00:35:44.524 --> 00:35:49.774
Here's a bump map on Overall

469
00:35:49.774 --> 00:35:53.974
This slot can have two textures applied to it:

470
00:35:53.974 --> 00:35:56.774
Bump map and normal map

471
00:35:56.774 --> 00:35:59.524
Both bump map and normal map

472
00:35:59.524 --> 00:36:02.524
make no deformation to the actual modeling

473
00:36:02.524 --> 00:36:06.274
It only depicts light and dark with a rendered image

474
00:36:06.274 --> 00:36:09.474
I think it could be seen as a kind of optical illusion

475
00:36:10.174 --> 00:36:13.274
Let me briefly explain the difference between the two:

476
00:36:13.574 --> 00:36:16.124
Bump map is a map depicting the elevation of a surface

477
00:36:16.124 --> 00:36:19.624
using the value of the map

478
00:36:19.624 --> 00:36:22.424
that is, white, black, and the middle value

479
00:36:22.424 --> 00:36:26.074
Because it requires values ​​from white to black

480
00:36:26.074 --> 00:36:29.024
Texture maps are created in grayscale

481
00:36:29.024 --> 00:36:32.574
Grayscale has only one channel

482
00:36:32.574 --> 00:36:34.674
Because it only uses one channel

483
00:36:34.674 --> 00:36:38.974
It is described only to the extent that the surface rises and falls

484
00:36:38.974 --> 00:36:41.774
The quality is lower than normal maps

485
00:36:42.824 --> 00:36:46.324
A normal map is literally the normal of a surface

486
00:36:46.324 --> 00:36:48.874
In other words, the direction

487
00:36:48.874 --> 00:36:52.524
There are three channels: red, green and blue

488
00:36:52.524 --> 00:36:57.474
Each represents the X-axis, Y-axis, and Z-axis

489
00:36:57.474 --> 00:37:00.774
Since there are three channels, depending on the direction of the light

490
00:37:00.774 --> 00:37:04.624
The changes in light and shade look more realistic

491
00:37:04.624 --> 00:37:07.624
In Redshift, there is a bump and normal

492
00:37:07.624 --> 00:37:09.675
self-node is created

493
00:37:12.974 --> 00:37:16.374
Drag the normal map in and drop it here

494
00:37:16.374 --> 00:37:19.624
A texture node is automatically created

495
00:37:19.624 --> 00:37:24.624
If you middle click on this part to insert a texture,

496
00:37:26.174 --> 00:37:28.524
A normal node is created

497
00:37:28.524 --> 00:37:34.474
Here again, select Tangent Space Normal

498
00:37:34.474 --> 00:37:36.225
Set the value to 1

499
00:37:42.324 --> 00:37:48.224
And set the Color Space value of the normal map to Raw

500
00:37:49.224 --> 00:37:50.924
Before we start the practice

501
00:37:50.924 --> 00:37:53.774
Lastly, there is one more thing I would like to say

502
00:37:53.774 --> 00:37:57.524
Textures of sRGB and linear type

503
00:37:57.524 --> 00:37:59.324
If we get into this part too deeply,

504
00:37:59.324 --> 00:38:02.224
the explanation gets too long, so I'll make it short

505
00:38:02.224 --> 00:38:03.924
When using textures

506
00:38:03.924 --> 00:38:08.674
it only applies to textures in JPG or PNG format

507
00:38:08.974 --> 00:38:13.074
The color part is related to the texture attribute

508
00:38:16.974 --> 00:38:19.624
Set it to sRGB

509
00:38:24.974 --> 00:38:29.874
The remaining numbers need to be in linear,

510
00:38:29.874 --> 00:38:34.324
Here we have the Raw mode. Let's select Raw.

511
00:38:34.324 --> 00:38:36.624
What I mean by the numbers mentioned here is

512
00:38:36.624 --> 00:38:43.274
In simple terms, these are roughness, metallicity, normal maps, and bump maps

513
00:38:43.274 --> 00:38:47.424
To enter a roughness value in the Roughness item

514
00:38:47.424 --> 00:38:50.124
the roughness map is applied

515
00:38:50.124 --> 00:38:54.074
To express a numerical value for the degree of metal

516
00:38:54.074 --> 00:38:56.824
the metallic map is applied

517
00:38:57.124 --> 00:38:59.774
During depiction on the surface, protrusion or

518
00:38:59.774 --> 00:39:01.974
directionality's numerical value expression

519
00:39:01.974 --> 00:39:05.624
bump or normal map is applied

520
00:39:05.624 --> 00:39:09.674
These maps are expressed in color to the eye, but

521
00:39:09.674 --> 00:39:13.424
Actually, what Maya requires is not this color

522
00:39:13.424 --> 00:39:16.224
It is the color value of each channel

523
00:39:16.224 --> 00:39:23.274
The values ​​from 0 to 255, or in other words, from black to white

524
00:39:23.274 --> 00:39:28.174
These are the ones that were applied by texturing them for input

525
00:39:28.174 --> 00:39:35.724
For items of this nature, select Raw and connect them

526
00:39:35.724 --> 00:39:37.824
The part related to color, i.e.

527
00:39:40.624 --> 00:39:46.474
Diffuse color, Reflection color

528
00:39:46.474 --> 00:39:49.724
And I didn't explain it here, but Refraction color

529
00:39:51.974 --> 00:39:56.574
And this also includes the tint color

530
00:39:56.574 --> 00:40:00.174
The texture connected to this part is

531
00:40:00.174 --> 00:40:04.774
be set to sRGB

532
00:40:05.274 --> 00:40:08.574
Surprisingly, this part is often not followed

533
00:40:08.574 --> 00:40:11.774
These tasks are important in other 3D programs or

534
00:40:11.774 --> 00:40:15.524
Unreal, etc.

535
00:40:15.524 --> 00:40:17.224
You must know this

536
00:40:17.224 --> 00:40:23.524
Especially if sRGB is applied to this normal map in Maya

537
00:40:23.524 --> 00:40:27.974
The change in shape will appear severely distorted

538
00:40:29.174 --> 00:40:31.374
Then simply, in our bear shape

539
00:40:31.374 --> 00:40:35.424
Let's try shading

540
00:40:37.724 --> 00:40:39.274
Before going into the material

541
00:40:39.274 --> 00:40:41.724
There are a few things to prepare

542
00:40:41.724 --> 00:40:45.424
I'll put the design on the side for color specification

543
00:41:05.124 --> 00:41:07.474
You must lay a Plane on the floor

544
00:41:07.474 --> 00:41:11.424
Because indirect light comes through the floor

545
00:41:11.424 --> 00:41:14.274
to the character

546
00:41:14.274 --> 00:41:16.874
If there is no floor

547
00:41:16.874 --> 00:41:21.674
The bottom side just comes out black

548
00:41:25.374 --> 00:41:26.924
For light settings

549
00:41:26.924 --> 00:41:30.124
I Created an object that can be used as a reference

550
00:41:30.524 --> 00:41:33.074
Black, medium gray, white

551
00:41:33.074 --> 00:41:35.374
and chrome material are installed

552
00:41:35.374 --> 00:41:39.424
Objects will be the standard for

553
00:41:39.424 --> 00:41:40.974
controlling the intensity of light

554
00:41:43.324 --> 00:41:45.374
Now let's get into the real stuff

555
00:41:45.374 --> 00:41:49.724
Basically, all will be applied with plastic material

556
00:41:49.724 --> 00:41:53.074
The hat uses Xgen, which we will learn about next time

557
00:41:53.074 --> 00:41:55.224
I'm planning on making a fur hat

558
00:41:55.224 --> 00:41:58.324
First of all, the base was made of plastic

559
00:42:16.624 --> 00:42:19.574
The bell is made of metal

560
00:42:19.574 --> 00:42:23.424
Both plastic and metal can be achieved with just color and roughness

561
00:42:23.424 --> 00:42:26.274
They are materials that can be easily made

562
00:42:38.174 --> 00:42:41.374
In the case of ribbons, it is fabric

563
00:42:41.374 --> 00:42:44.174
The fabric must have an elaborate pattern

564
00:42:44.174 --> 00:42:46.574
Because only then it can create a fabric feel

565
00:42:46.574 --> 00:42:52.024
We will use color map, roughness map and normal map

566
00:42:52.024 --> 00:42:56.174
All downloaded from free texture sites

567
00:43:02.624 --> 00:43:05.424
When applying all three textures

568
00:43:05.424 --> 00:43:09.824
Please strictly adhere to sRGB and Raw formats

569
00:43:39.474 --> 00:43:41.724
With just these three maps

570
00:43:41.724 --> 00:43:45.024
It seems like it would be difficult to implement fabric material

571
00:43:45.024 --> 00:43:49.674
So I added something called Sheen to Reflection

572
00:43:49.674 --> 00:43:52.124
If you give this item a Weight value,

573
00:43:52.124 --> 00:43:55.074
The Fresnel feel comes to life strongly

574
00:43:55.074 --> 00:43:58.624
If you look closely at your clothes, you will see that in the edges

575
00:43:58.624 --> 00:44:01.874
Fresnel is visible

576
00:44:01.874 --> 00:44:04.775
This is the function that gives that effect

577
00:44:11.924 --> 00:44:16.125
The eyes, nose and mouth are made of glossy plastic

578
00:44:30.174 --> 00:44:34.474
This concludes the shading work

579
00:44:36.374 --> 00:44:40.024
Let's summarize what we learned in this lecture

580
00:44:40.024 --> 00:44:44.074
First, we learned about the UV cleanup process

581
00:44:44.624 --> 00:44:47.724
Second, we learned making various shaders

582
00:44:47.724 --> 00:44:50.374
using textures

583
00:44:50.824 --> 00:44:55.224
The process of shading is changing a gray, ugly polygon mass to

584
00:44:55.224 --> 00:44:58.874
a lively character

585
00:44:58.874 --> 00:45:02.224
I've seen a lot of people who aren't confident in shading

586
00:45:02.224 --> 00:45:03.974
As I said before

587
00:45:03.974 --> 00:45:07.474
using Mega Scans, Substance Painter

588
00:45:07.474 --> 00:45:10.124
several texture sales sites,

589
00:45:10.124 --> 00:45:14.324
allows for easier and more advanced shading work

590
00:45:14.974 --> 00:45:19.424
Shading settings and configuration may vary from studio to studio

591
00:45:19.424 --> 00:45:24.574
However, if you have a basic understanding 
of the content taught in this lecture

592
00:45:24.574 --> 00:45:28.574
I think it will be very helpful 
when you come across new content

593
00:45:28.874 --> 00:45:31.524
Thank you

594
00:45:31.874 --> 00:45:32.374
Efficiently deploy and organize UVs

595
00:45:32.374 --> 00:45:32.874
Shading: The process of realistically coloring and textureing a gray polygonal mass

596
00:45:32.874 --> 00:45:33.374
Incision is made mainly in areas that are not visible during UV cutting

597
00:45:33.374 --> 00:45:33.874
Checker file: a numbered or square file used to check for sagging or interlocking parts of the face

598
00:45:33.874 --> 00:45:34.374
All modeling seam locations are cut mainly on the back, bottom, and hidden edges

599
00:45:34.374 --> 00:45:34.874
Minimizing UV incisions: The more incisions there are, the higher the chance that distortion will be noticeable

600
00:45:34.874 --> 00:45:35.374
Severely affects the texture resolution and appearance of that part

601
00:45:35.374 --> 00:45:35.874
Minimize empty space in UV window

602
00:45:35.874 --> 00:45:36.374
This is why each texture increases the time when it is rendered

603
00:45:36.374 --> 00:45:36.874
To optimize the asset, it should be created with minimal UV shell space and empty space

604
00:45:36.874 --> 00:45:37.674
Aligning the orientation of the 3D display and UV editor

605
00:45:37.674 --> 00:45:38.524
They must be placed facing the same direction in the UV shell

606
00:45:38.524 --> 00:45:39.374
Also in the UV editor, make sure the shells face the same direction

607
00:45:39.374 --> 00:45:40.174
Additional work is needed when UV shells of the same type are oriented in different directions

608
00:45:40.174 --> 00:45:41.024
Working with UVs using modeling

609
00:45:41.024 --> 00:45:41.874
When working with UVs, you may discover errors that you didn't see when modeling

610
00:45:41.874 --> 00:45:42.374
Expressing textures through shaders

611
00:45:42.374 --> 00:45:42.874
Physically Based Rendering (PBR)

612
00:45:42.874 --> 00:45:43.374
After the introduction of the PBR-based rendering system, there was one established standard shader

613
00:45:43.374 --> 00:45:43.874
Renders by simulating how real light reflection physically occurs

614
00:45:43.874 --> 00:45:44.374
Fresnel Type: When an object reflects light, the reflectivity varies depending on the angle between the observer and the object's surface

615
00:45:44.374 --> 00:45:44.874
At 0 degrees, the reflectivity is low, and as the angle increases, the reflectivity increases rapidly

616
00:45:44.874 --> 00:45:45.374
Metalness If the intensity is 0, it means non-metal, and if it is 1, it means metal

617
00:45:45.374 --> 00:45:45.874
Bump maps and normal maps

618
00:45:45.874 --> 00:45:46.374
Bump map: A map that describes the surface elevations using values ​​between white and black

619
00:45:46.374 --> 00:45:46.874
Normal map: Defines surface directionality, using three channels to adjust light and dark based on light direction