It guides you through creating shaders for various model parts, including hair, using texture maps like albedo, roughness, and specular.
The tutorial covers exporting models from Maya and importing them into Marmoset for rendering, providing essential insights for achieving impressive 3D visual results.
- Workflow
We’ll be working on a prop today and learn how to add Transparency and Reflection inside of Marmoset.
The pot is made out of multiple parts, the lid, the bottom, and glass.
Each part has it’s own shader as we can see inside the Hypershade.
In Substance Painter, the shaders can also be seen on the right side of the workspace.
Export the textures, set a file type, size, output template, and where you want the textures to be exported on your desktop.
This is a quick example of what this tutorial will provide.
This is a basic sphere with no texture maps whatsoever.
First, lower the roughness and metallic maps to make the sphere shiny.
In the Reflection tab, click the arrow on the side to switch from GGX to Anisotropic.
GGX is a sphere-based reflection while Anisotropic is a directional reflection.
We can change the Intensity and the Direction of the reflection in the settings.
When you import the pot in a new project, we can add more subdivisions on the lid to make it look more high poly.
Click on the static mesh and do this for both parts.
Tick the Subdivide box inside the Subdivisions tab, and set the Subdivision Level to 2.
Add the textures exported from Substance Painter inside each texture map in each material.
When we reach the glass of the pot, add the roughness and base color map as normal, then change the base color to blue so that the glass has a blue tint to it.
To make the glass look like glass, in Reflectivity, click the small arrow on the right and select the Specular option.
Increase the intensity of the Specular to make it shiny.
To make the glass transparent, find the Transparency map, click the arrow on the side, and select Dither.
Decrease the Alpha scale to make it transparent.
On the pan shader, go into the Reflection tab, click the arrow on the side, and click the Anisotropic option.
Increase the Anisotropic intensity and the Anisotropic Direction.
In the Clearcoat Reflection tab, click the arrow on the side and click the Anisotropic option.
Same as before, increase the Anisotropic intensity and the Anisotropic Direction.
End Result.
Exporting and Rendering hair in Marmoset.
- Workflow
Before exporting the hair, make some last-minute changes to it by adding more CV Counts to increase the number of strands, and un-tick the Face Camera box inside the Primitive Attributes tab.
If the hair has multiple Descriptions, make sure to un-tick the Face Camera box in those Descriptions as well.
Select all the guides, open the Modify tab, hover over Convert, find the Convert XGen Primitives to Polygons action, and click on the menu icon next to it.
Make sure Combine Meshes is on, as well as Use Width Ramp, change the UV Layout Type to 4x4, and click Convert.
Now that the hair is a mesh, select it and export it as an FBX file.
In Marmoset, import the Head FBX file, and afterward, drag and drop the Hair FBX file inside the current Marmoset Project.
The Hair will look like it has bald spots on it and a lot of missing hair strands, to fix this, click on the hair mesh and un-tick the Cull Back Faces to reveal all of the hair.
Make a new material by clicking the plus icon below the Materials tab and rename it.
Change the Base Color of the new material, then drag and drop it on top of the hair mesh.
If you don’t like the color, you can always change it.
Adjust the Roughness so the hair isn’t so shiny.
In the Reflectivity tab add Specular and adjust the Intensity and Fresnel slider.
In the Reflection tab add Anisotropic and adjust the Anisotropy and Anisotropy Direction slider.
In the Clearcoat Reflection tab, add Anisotropic and adjust the Anisotropy and Anisotropy Direction slider.
In the Clearcoat Microsurface tab, add Gloss and adjust the intensity.
In the Clrearcoat Reflectivity tab, add Specular and adjust the intensity.
After everything is set up, adjust any sliders you don’t like, turn on ray tracing and render the hair.
End Result.
