I worked in many studios including Weta Digital, MPC, Double Negative and Framestore. I’ve created all kinds of assets, including characters and environments in different styles, ranging from medieval to futuristic. Over the years, I started to focus more on texturing, and am now responsible for the whole texturing team for the shows I’ve been working on.
In this article, I will explain how I used Marmoset Toolbag 3 to create static renders of the International Space Station used in the short film, Flax – Sh*t in Space, produced by Bacon Oslo. Let’s start with the one and only piece of bad news. At the moment, Toolbag 3 doesn’t support assets with UVs in multiple UDIMs, so in order to assign the textures to your asset properly, you’ll have to do a bit of preparation work in Maya or your 3D application of choice. It’s a pretty easy task, especially in my case, where I just had one complex asset. To start, I merged all the geometry into a single object, then I selected the shells of each UDIM in the UV editor and detached them as separate meshes. My asset had 46 UDIMs, so I ended up with 46 meshes. I named them accordingly in the Outliner, so I could easily assign each shader in Toolbag. The only exception was the UDIM 1025, which had both transparent surfaces and opaque ones. I had to keep these separate, so I could later assign two different shaders in Toolbag. After splitting the geo by UDIM, you won’t need to move the UVs, because Toolbag can read them properly even if they’re outside the 0 to 1 space.Įditor’s Note: Alternatively, you can assign a unique material to each UDIM rather than separating the meshes. The material assignments will load when you import the mesh in Toolbag. Toolbag has a very handy feature: the Reload Mesh button. So if you need to edit your original mesh after doing some work in your scene, you can overwrite the original FBX and you won’t lose anything. I worked on the textures entirely in Substance Painter, using the PBR Metallic/Roughness type of shading system. That’s becoming the standard pretty much everywhere, from games to feature films. Normal maps: Substance Painter usually keeps Tangent Normal Maps and Height as separate channels.There are still a couple of things worth mentioning when exporting maps: Marmoset Toolbag uses that shading system too, which meant that the maps I created in Substance Painter, once imported in Toolbag, looked almost exactly the same.
While in Marmoset Toolbag, unless using Parallax, there is only one slot for the Normal Map. I wanted to save some memory, so I decided to export the Height and Normal Map combined.
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