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I was trying to export an object from marmoset toolbag which is textured and animated. However, even though i could play animation in marmoset, im unable to find the same when I export it as gltf file from marmoset. It is unable to export with animations.
Upon inspection, it is clear the .glb file you provide contains no animation information. Perhaps Marmoset Toolbag's glTF exporter doesn't support animations yet, or perhaps there's an export option you didn't check? I don't own that software, so I can't help you with that part.
I've loaded my lowpoly and highpoly into Marmoset Toolbag. I load in the maps i've baked but from the beginning to then, the emissive textures takes up the entire space of the body (lowpoly). How can i isolate the emissive map to only show where i've set emissive zones?
In Emissive tab, the 'Glow' color slot should be black as it applies flat glow color to the whole mesh, and it should be left black in all cases except for FX meshes(for additional effect), and also the main emissive color is set to black, change it as well.
Thanks. I set the emissive glow to black, but it makes the whole body black. Even with my texture maps plugged in they won't show up and i can only see black. I don't know how to solve this, i baked many of the maps in Marmoset and should be able to use it for rendering as well. I don't think i can submit this or other works if i can't make renders of them
Well , create a fresh new material in the scene(or duplicate the default marmoset material) and apply that to the model and then add textures and then lastly any custom shader if you want, this should work out and also check the lowpoly normals.
Ah, it's easier than i thought. I think it's the same in Substance Painter as well as you can drag a material on to the model, i tend to drag it into the layer stack. I'm old. Thanks so much for your help.
The metal texture from Substance Painter is only showing through with the scratches and dirt on that material, but the metallic shine itself isn't coming through in Marmoset. I baked using the metalness/roughness workflow in Substance. I had baked maps in Marmoset as well. The results are the same whether i select specular or metalness in Marmoset.
Are you using roughness map or gloss map? , cause roughness map is actually inverse of gloss map so make sure you apply it in correct slot , as I m seeing you are using gloss map slot so change it to roughness or you can just check the invert button down in the tab
I figured it out, i was plugging in the albedo map that i baked in Marmoset so the materials i had applied in SP weren't showing up. I think i should only bake the normals in Marmoset and leave the other maps for SP. The roughness map was showing up all glossy so i inverted it in Photoshop, now it works.
Normal maps can be confusing at first , cause there are 2 format/type of it , one is DirectX format which is mostly used by games and the other is OpenGL format. There is only one difference between them and it's the green channel (Y channel) , For DirectX, the green channel is flipped and for OpenGL its not. So It's important in which format you bake the normal map. As Each software has its defaults , like Marmoset bakes the normal map in OpenGL format by default so you might have to change it to directX. Also it uses OpenGL by default for all the meshes.
So if you have baked the normal map in Marmoset and didn't change any baker's setting and it displays correctly on the mesh then the normal map is in OpenGL format , but you can change it to DirectX by flipping the green channel of the map or change the baker setting to DirectX and then bake (in Baker's setting > change Tangent Space to '3D Studio Max' OR check the tick 'FlipY' in normals setting down in the Maps tabs ) and then when you want to see the meshes normal map correctly in Marmoset ,check FlipY in the materials settings for normal map
Alright, it took a lot of searching before i could find the setting, but i set the Tangent Space to 3D Studio Max. So will this cause Marmoset to bake all maps in DirectX from now on? I must have been baking most of them in OpenGL so far, except for when i flipped the Y channel on normal map baking. Very good to know, thank you for helping me with this
I did some renders, still very amateur though. Do you have any suggestions on how i could improve them? I found a tutorial that went through the settings between the render menu, lights and camera menu. It seems like i'll have to learn image editing before i can be any good at it though
I like to setup the camera early on, as I've said in previous articles no one likes a horse face and a sure fire way to do that is to have use a 35mm focal distance. I like to set it to somewhere around the 70mm mark which is much more in keeping with portrait photography, you can see the difference this makes in the image below.
Now were going to adjust the specular colour to a light blue, there are a few different opinions on this but what we have observed shooting polarised and cross polarised imagery of faces the resulting extracted reflection colour is always a shade of blue, however this could be down to the inability to correctly colour balance polarised imagery due to there not being a colour chart capable of doing this. Either way I like a nice blue hue to the spec so were going to stick with that for the purposes of this tutorial, feel free to change it to something closer to white if you prefer.
And here we have the model with the spec map applied. If after you have applied the spec map you think it looks a little bit too sharp, i.e. the reflection terminates to quickly around a dark areas such as a pore or hair then you can try applying a 1% gaussian blur to the entire image in photoshop
The next map that we need to look at is the gloss map. This defines areas of the face that are more or less oily which results in tighter highlights. This can be a very simple and very small image if you like, there is no need to define huge amounts of high frequency detail in here just a map to generally define certain areas that will have tighter highlights. Broadly speaking its more or less the same as the spec map with the same facial areas i.e. lips, nose, ears, forehead and eyes picked out as the shiny areas. Again, working with each area on a separate layer in photoshop is a must for tweakability.
To help the image pop a little bit were going to add some simple post processing effects. The first of which is the "Hejl" tone mapping which will give the scene a more cinematic look. Select the camera and scroll down the "Post Effects" and then select "Hejl" from the tone mapping drop down menu. You can also play around with the curves, exposure settings to try and replicate the look but this is a quick and easy way to add a bit more depth to the scene.
Everyone loves a bit of DOF! it help pull everything together and combined with the chromatic adoration gives your renders a nice photographic quality. Make sure you tick on "Sticky Focus" this means the focal distance will always remain the same no matter how much you move the camera in the scene. If your using a mouse you can simply use the middle mouse button to set the focal point or distance as it's called in marmoset.