In this last video, we will continue our discussion on how to apply different parts, your insight
to this mix now we will try to apply this texture set from Polygon dot com called Brake's zero one.
We will be using the file from the previous lesson.
You may want to save the file for us if you need a backup, let's select all of these nodes and then
press delete to remove them for us.
Let's add the color.
Now, this texture set is a bit different from the previous one.
We can see two variations of the color texture, kolevar one and Kolevar two.
It is obvious that this one is a different texture.
Well, this one is an albedo texture.
If you are provided with the variations like this, you always want to pick the albedo version due to
the reasons we've discussed earlier.
Essentially, it provides a more accurate result.
So break this one into the viewer, Spanel.
And then connect beat me up shader to the base color input.
We can name a node by selecting it first and then type the name here, for example, Olvido.
This will make the shader network more organized, but I will skip this naming process in this lesson
to save time.
At least now you know how to do it.
I think the brick size looks too small.
We can make the texture bigger by adjusting the taling values we've discussed.
You retiling before, but using the uber bitmap shader.
If you are using the bitmap shader, you can control the tiling here.
The higher value means a lot more texture in a single UV map, which will make the breaks even smaller
if you want to make it bigger.
We need to input a fraction value.
Let's try the zero point five.
This is for you.
Tile for the tile.
Let's set this also to zero point five.
Now the breaks look bigger, but the rendering result is still far from perfect.
Let's add the roughness effect to avoid us from having to report the tile values again and again.
Let's just copy this node selected hold sheaffe and just drag it like so click the picture file name
to select a different file.
As you can see, this structure set does not contain any roughness texture.
Instead, it provides glossiness texture.
So we need to inverted and because we are not using the color information, we need to turn off the
automatic Girma and just use one point zero notice.
If we connect this directly to the roughness, input for the rendering result looks very off.
To invert the color, we can use an inward shader right click just maps or mouth color and then just
invert color.
Directly to the input port and from the output port, directly to the ravenous port, now the rendering
result looks much better.
So there is one way to do it.
You can also edit the image for us in an image editing software.
But there is even an easier way to invoke the texture color through the use of the bitmap output parameter.
This can help us to produce rendering time because as we discussed before, the more header notes exist,
the longer it takes to render the scene.
So in general, if you can find a way to reduce the complexity of the shadow network, then you should
do that.
So let's let this invert color shader and just plug this directly into the roughness map slot.
Now, the rendering looks bent again, but if we open the output section of the bitmap shader, you
can see this invert option.
Simply turn this on.
And now we have the correct roughness value again, just like the result when we use the inverse color
shader.
Next, that's copied this note to the top.
This is for real texture.
Let's turn off the invert option so it doesn't get copied to the next nodes.
Then create another copy for the normal texture down here and another one for the displacement texture.
Select is a node and click here to change the target file.
Select the texture, file the game.
The setting is already correct.
So I just click open here and then connect this to the base with map so you can see that the cavity
areas look darker.
Now what if we want to reduce the effect or perhaps increase it to make it even darker?
To do that, you can use an additional shader to mediate the texture data.
But just like before we can actually do this right inside the bitmap node using the output parameters.
So go to the output section again.
Now, activate the enable column option with this look of Ed down here becomes accessible.
This node is the white color.
Well, this node is the black color.
We know that only the black colors or texture will darken rendering result.
So we don't need to touch the white color node.
We only need to control the black color node.
If we bring this down, more pixels become black and so do outward darker.
But if you drag this up, the dark colored pixels will become brighter.
You can type in the value here directly, zero means this line, which is the default for glycolysis.
One is this line, which is the default for white collars.
Just find the value you think is the best.
Next, selectees know basically the process is the same, but no, it's just the normal texture.
Create the normal bomb shelter to convert the data.
And then plug this in.
And in the outward into the bumps.
Previously, we learned to control the wound strength using this parameter.
Well, this value actually works for a single channel data, such as a texture for a normal texture.
You can tweak the one strength using this node.
If you increase this number to 10, for example, you can see the bottom effect becomes more pronounced
in a rendering result.
The less one is the displacement texture, just like before.
Click here and adjust the texture.
Then click open and then connect this to the displacement map.
You may need to wait for a few seconds for the polygons to be fully generated.
And this is the final result.
You may notice that this structure set also has a reflection map, so basically it uses the specular
workflow because bricks are not metal or at least contains very little metal on its surface.
You can just ignore this texture, but just imagine that this texture is metal.
And so using this reflection, texture becomes important.
In order to use the PBR specular workflow into the physical material, we need to turn on the advanced
mode.
Let's copy this with my panel and redirect the file to the reflection texture, sometimes this texture
is also called specular.
And because we are using the color information, you can turn on the game correction on this texture.
And in this header into the reflection column, absolute.
So this is the final result, I think the breaks at the top look too small.
Let's just hide the report for now so we have a more consistent exercise throughout the service.
The Leicestershire said, we want to apply is the forest floor for this, let's create a new object,
I think a plain object.
So it's very well for this texture.
All right.
Let's clear the obvious panel.
Now, for example, I want to show you another approach to creating PBR based materials, if you rightly
open the materials category in a general subcategory, you will see to PBR material presents.
One is for the metal workflow and another one is for a specular workflow.
At this point, you might be wondering why weren't we just using these materials from start?
Well, these two materials are not new.
They are actually just the physical materials that we've been using all this time.
It's just that the physical material is wrapped inside a scrape that only exposes some of the important
parts in our texturing.
So it is like a simplified version of the physical material.
You won't find parameters like the coating or subsurface scattering, etc..
In practice, this material presets are great for quickly creating materials, using pure textures,
but not so great if you require more control over the material.
Now, if you look closely at the forest floor texture set, this texture set does not contain any metal,
but notice that it uses roughness texture.
Commonly, if you see roughness, texture, the texture set uses the maintenance workflow even though
it does not contain any metal.
So what?
Click here again materials general.
And then just the pure material that uses the metal roughness workflow and then assign this material
to the plain object.
As you can see, this material hides a lot of the parameters that we usually see in a physical material,
which can be a good thing or a bad thing depending on your situation next to where the textures into
this material, I want to explore even a faster method than the previous methods.
Open the file explorer.
And just drag each of the textures to the corresponding website, I'll be here.
It goes here, it goes to the displacement map.
Now for the normal texture, you can see that this material provides a dedicated normal map slot.
So you don't need to add any normal bomb shader for converting the data.
And finally, the roughness texture goes here, as you can see to this, Max created all this bitmap
notes for us automatically, sometimes to makes Max created the bitmap nodes sticking on top of each
other.
You can move this around manually, but a faster way to stack the nodes is to select the material for
us and then click on this icon called Little Children.
To this, Max will do its best to tidy them up.
What is so great about this BBR material and a method is that each of these bitmap shaders is already
using the correct GIMA settings.
So the base color map uses a game correction.
Well, the other known color data textures do not use any gima correction.