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Marmoset toolbag 2 emissive maos8/31/2023 ![]() ![]() To remedy this, try reducing the contrast of the photo reference, adjust output curves*, gamma and/or exposure as necessary in order to prepare the photo for a clean conversion. One of the drawbacks of this process is the increased likelihood of finding artifacts and noise in the generated normals. ![]() Many artists (self-included) enjoy the efficiency of generating normal data from their preferred bitmap-to-normal converter. Photo-Normal ConversionĪpplications like Substance Designer, Crazy Bump, and Quixel's nDo still have a place in a PBR pipeline, make no mistake. This is especially important when transitioning to (or from) a metal/non-metal surface due to the (obvious) disparity in surface properties. You'll want to remove unnecessary noise as much as possible from your Normal Maps and focus your efforts on defining distinct shapes and forms. These micro-surface details are best realized in the Smoothness Map. (We'll go into detail about the Smoothness Map below.) Tactile descriptors like smooth, wet, scuffed, worn, and rough are all considered micro-surface details which don't merit additional normal information. ![]() As we'll see below, this is a no longer a good idea - in fact it's a terrible idea unless you're literally authoring a 40-grit sandpaper material. An example of this would be adding a noise filter to your Normal Map to simulate a "rough" surface. Micro-Surface Details, as the name implies, are far subtler surface details which, until recently, were usually found in the Specular Map, or sometimes the Normal Map. In PBR, Normal Maps serve to provide directional lighting information for Macro surface details which (for one reason or another) don't merit the overhead of additional geometry. ![]()
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