I added a Shadow Catcher in the scene to quickly generate a ground plane that displays object shadows and bounces light when Global Illumination is turned on. This is done because if you change your Sky Preset, it will delete all of the Child-Lights that were created and resets the Sky settings. I also moved all of the Child-Lights into their own Group. Be aware that it can sometimes cause strange shadow artefacts. This option improves and fills in the shadows where objects intersect and overlap. Final Tweaksįor the final stages of lighting the scene, I checked the Contact Refinement option for every light except for the key light. Now that they were in their final positions, I started tweaking their Brightness values. This is the final view of the Light Editor which includes all of the added lights. This is demonstrated with the gun barrel or the end of the stock. Overhead LightĪdding an overhead light gives our round shaped surfaces better readability. This light will help show any plane changes and makes the object readable. Keep in mind that you will have to keep this light subtle and not have it overpower the key light. I’ve set up a fill light to brighten up the pitch-black areas in order to make the gun more visible. The key light should function as your main light and create high contrast.
Using the Light Editor again, I set up a strong key light to highlight the form and dimension of the asset. Be aware that selecting and moving a light in the Light Editor would reset its Brightness value, so I would recommend tweaking this value after you’ve locked down its placement. Later on, I added another rim light to further highlight the shape of the grip.Īfter locking down the position and angle of the lights, I adjusted the Brightness value to 1. I changed the Length (X) of the Light Shape to stretch out the light source horizontally and expand the rim light. This light helps to separate the object from the background. You can do this by creating a Child-Light and moving it around in the Light Editor until a contour line is visible. I started with a rim light which created a really nice contour around the object that accentuated the silhouette. Child-Lights will appear under the Sky object in the Scene Outliner. To create a light, I simply click-dragged a Child-Light into the Light Editor window and found a good position and angle. I made sure to have the Child-Light Brightness set to a value of 1 or higher in order to have a good base for lighting the asset. For starters, I added an Image to my Sky Light setting and decreased the Brightness to 0. HDRI Sky SetupĪt this stage, I began with the lighting setup. Enabling the Safe Frame option gives a preview of your final render area.
#CHANGE CAMERA MARMOSET TOOLBAG 3 FULL#
For my primary Camera, I sometimes lower the Field of View to a value between 20-25. With this small FOV, we’re able to create a semi-orthogonal shot and can capture the asset in a full format/compressed perspective similar to a portrait lens. Afterward, I tried to find a good camera angle for the render. After creating the Material, I added my maps to their slots on the right and imported my asset to the scene using Ctrl + I or going to File -> Import Model. In this case, it was the Unreal 4 Template. My first step in Toolbag was to select a Material Preset which matches my asset’s texture type.
#CHANGE CAMERA MARMOSET TOOLBAG 3 DOWNLOAD#
For this article, I will use my MAC 10 as an example, which you can download here to follow along. In this breakdown, I will explain how I light and render my assets in Marmoset Toolbag 3 and cover a few important settings. Hi everyone! My Name is Emre Karabacak, I’m working as a 3D Artist at NUKKLEAR, and we’re currently developing Comanche.
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