Super Easy Scan 3D Objects Photorgrammetry | Substance Sampler Tutorial

Summary

このビデオでは、3Dアートの基礎を学ぶための「バレル」モデルの作り方を紹介しています。2015-2016年にメキシコで小さなビジネスを始めた制作者が、MayaやSubstance 3D Samplerを使い、学生にUV、テクスチャリングの基礎を教える方法を探求した物語です。特に、Photogrammetry技術を使ってSubstance 3D Samplerでバレルを立体化し、リアルタイムレンダリングで高品質な結果を生み出すプロセスを解説しています。この技術はゲーム開発や3Dアート制作において、リアルなテクスチャリングを実現する鍵となると同時に、スキルアップにも大きく役立つと言えます。

Takeaways

• 😀 スクリプトは、MayaやSubstance 3D Samplerを使って3Dモデルを作成する方法を紹介しています。
• 🎨 樫のバルコニーは、3Dの基本を学ぶための良い教材として使用されています。
• 📸 フォトグラメトリーは、多くのスタジオで使用され、3Dアーティストのスキル向上に役立つ技術です。
• 🛠️ Substance 3D Samplerを使って、写真から3Dモデルを作り出すプロセスが解説されています。
• 🔍 AI技術を利用して、特定のオブジェクトをマスクアウトすることで、3D再構成をよりクリーンに保ちます。
• 💻 高いグラフィック性能とRAMが必要な処理で、古いコンピュータではうまく動作しない可能性があります。
• 📈 メッシュの精度を調整し、必要に応じて法線や高度なテクスチャ情報を生成することができます。
• 🎭 テクスチャの調整には、色替えやブライトネスコントラスト、色相飽和度などのフィルタを使用して視覚的な興味を加えることができます。
• 🔄 フォトグラメトリーから得られるメッシュは、通常、法線情報が不十分なので、他のチャンネルから推定する必要があります。
• 🌐 最終的な3Dモデルは、Marmosetのようなリアルタイムレンダリングソフトウェアで使用可能です。
• 🎓 Substance 3D Samplerは学生向けに無料で利用可能で、非常に低いコストでサブスクリプションが利用できます。

Q & A

ビデオで紹介されたバーレルは、どのような役割を持つ教具ですか？

ビデオで紹介されたバーレルは、3Dモデリングの基本を学ぶための教具として使用されています。メイバやUV、テクスチャリングなどの基本的なことを学ぶために、シンプルな球体や箱よりも良い選択肢として選ばれました。

ビデオの作成者がなぜ、メイバを学ぶ際にバーレルを使うと言っていますか？

バーレルは3Dの基本的なことを学ぶ上で非常に良い方法であり、多くの基本的なテクニックを学ぶことができるためです。バーレルは教師にとっては標準的な練習として使用されています。

ビデオで使用されたテクニック、フォトグラメトリーとは何ですか？

フォトグラメトリーは、多数の写真から3Dモデルを作成する技術です。ビデオでは、この技術を使ってバーレルを再現し、リアルタイムレンダリングで非常に良い結果を得ています。

ビデオで紹介されている最終的なバーレルの結果はどのようにして得られましたか？

最終的なバーレルの結果は、Substance 3D Samplerを使用してフォトグラメトリーを実行し、リアルタイムレンダリングソフトウェアであるMarmosetで表示することで得られました。

ビデオで言及されたSkillshareとはどのようなサービスですか？

Skillshareは、アートやデザイン、ビジネスなど様々な分野のコースを提供するオンライン学習プラットフォームです。ビデオの作成者は、Skillshareですべてのコースをアップロードしており、1か月間の無料トライアルが利用可能です。

3D Sampler 4.0で新しいプロジェクトを作成する際に、データセットとは何を指しますか？

データセットは、使用したいオブジェクトを撮影したすべての写真を指します。ビデオでは、バーレルの写真を使用して3D Sampler 4.0で新しいプロジェクトを作成しています。

ビデオで説明されているマスク生成の目的は何ですか？

マスク生成は、AI技術を使用して各画像からオブジェクトを特定し、3D再構成をよりクリーンにするためのマスクを作成することを目的としています。これにより、周囲の環境からの不要な情報は除外され、バーレルのみが再構成されます。

ビデオで言及された「ハイ_PRECISION」オプションとは何を意味しますか？

「ハイ_PRECISION」オプションは、3D Samplerで使用される設定で、より高精度のメッシュを生成するために選択できます。ビデオでは、このオプションを使用してバーレルのメッシュを生成しています。

ビデオでバーレルのメッシュが生成された後、何を修正する必要がありますか？

バーレルのメッシュが生成された後、バウンディングボックスを調整してバーレルの外れているポイントを除外し、地面プレーンを正確に配置する必要があります。また、下のキャップがないため、バーレルの下部分を撮影する方法を見つける必要があります。

ビデオで使用された「カラー_スイッチ」機能とは何ですか？

「カラー_スイッチ」機能は、1つのチャンネルの情報を使用して別のチャンネルの情報を影響づける方法です。ビデオでは、この機能を使ってベースカラーからROUGHNESSチャンネルを作成し、テクスチャの詳細を追加しています。

ビデオで言及された「ブライトネス_コントラスト」調整はどのような目的を持っていますか？

「ブライトネス_コントラスト」調整は、ROUGHNESSチャンネルにのみ影響を与えることで、テクスチャの明暗やコントラストを調整することを目的としています。これにより、リアルな見た目のテクスチャを作成することができます。

ビデオの最後に、作成者がどのようにしてMarmosetにモデルをインポートし、どのようにテクスチャリングを適用しましたか？

ビデオの最後に、作成者はSubstance Samplerからメッシュとテクスチャをエクスポートし、Marmosetにインポートしました。その後、テクスチャを適切に接続して、最終的な結果を表示しています。

Outlines

00:00

📚 3Dモデリングの基礎学習：バーレルの作り方

この段落では、講師が2015-2016年にメキシコに帰国し、小さなビジネスを始めた時のエピソードを紹介しています。3Dモデリングを学ぶためのプロップとして、球体や箱ではなく、バーレルを選択した理由や、バーレルを使った基本的な3D知識の学びについて語られています。また、バーレルを用いた3Dモデリングの教育方法として、Photogrammetryを使ったSubstance 3D Samplerでのバーレルの作り方と、その最終結果について説明しています。

05:01

🎨 Photogrammetryを用いた3Dサンプリングの基礎

この段落では、Photogrammetryの重要性と、3Dアーティストとしてそのスキルを身につけるべき理由について説明しています。さらに、Skillshareというサイトを紹介しており、そこで提供されているコースを通じてスキルを向上することができると呼びかけています。その後、3D Sampler 4.0を使用してバーレルの3Dオブジェクトを作成し、画像データの取り扱い方やマスクの生成方法について詳しく説明しています。

10:03

🖼️ 3DリコンSTRUCTIONのプロセスとテクスチャの調整

この段落では、3D Samplerを使用して3DリコンSTRUCTIONを開始し、メッシュのスケーリングや境界の設定方法について説明しています。さらに、メッシュの処理時間や、システム要件について触れ、メッシュの完成後に行うノーマルマップやアンビエントオクルージョン、カラー情報の調整方法について詳しく紹介しています。

15:05

🛠️ テクスチャの仕上げとエクスポート

最後の段落では、テクスチャの仕上げ方とエクスポートプロセスについて説明しています。カラーチャネルからROUGHNESSチャネルへの情報継承方法や、ブライトネスとコントラストの調整、メタルネスチャネルの追加など、テクスチャの詳細を調整する方法を紹介しています。最後に、Marmosetにインポートし、使用する準備を整える方法についても説明しています。

Keywords

💡3Dモデリング

3Dモデリングとは、コンピュータ上で三次元空間のオブジェクトを作り上げるプロセスのことです。このビデオでは、バーレルを例に3Dモデリングの基本を学ぶ方法が紹介されています。バーレルは3Dの基礎概念を学ぶのに適したモデルとして選ばれています。

💡Maya

Mayaは業界標準の3Dコンピュータグラフィックスソフトウェアで、アニメーション、3Dモデリング、エフェクトなどを作成することができます。ビデオでは、Mayaを使用して3Dオブジェクトを作成する方法が学ばれる場面があります。

💡UVマッピング

UVマッピングは、3Dモデルの表面を二次元のUV座標系に投影するプロセスで、テクスチャを適切に適用するために使われます。ビデオでは、Mayaを使用してUVマッピングを行う方法が学ばれるかもしれません。

💡テクスチャリング

テクスチャリングとは、3Dモデルにテクスチャを適用するプロセスで、モデルの見た目を豊かにします。ビデオでは、テクスチャリングの基本やテクニックについて説明している可能性があります。

💡フォトグラメトリー

フォトグラメトリーは、多数の写真から3Dモデルを作成する技術です。ビデオでは、フォトグラメトリーを使用してバーレルの3Dモデルを作成する方法が紹介されています。

💡Substance 3D Sampler

Substance 3D Samplerは、フォトグラメトリーを利用して3Dテクスチャを作成できるソフトウェアです。ビデオでは、このソフトウェアを使用してバーレルの3Dモデルを作り上げるプロセスが説明されています。

💡リアルタイムレンダリング

リアルタイムレンダリングは、コンピュータ_GRAPHICSで生成された画像を即座に表示する技術です。ビデオでは、Marmosetツールを使用してリアルタイムレンダリングを実行し、バーレルの3Dモデルの完成度を確認しています。

💡スキルシェア

スキルシェアは、様々なスキルを学ぶことができるオンラインプラットフォームです。ビデオでは、スキルシェアでのコースへのリンクが提供されており、視聴者がさらに学ぶことができると示唆しています。

💡マスク

マスクは、画像の特定の部分を選択的に表示または非表示にできるようにする2値画像です。ビデオでは、AI技術を使用してマスクを生成し、3D再建をよりクリーンにする方法が説明されています。

💡ポイントクラウド

ポイントクラウドは、3D空間内のデータポイントの集合であり、3Dモデルの形状を定義します。ビデオでは、ポイントクラウド情報を使用してバーレルの3Dモデルを再建するプロセスが紹介されています。

💡メッシュ

メッシュは、3Dモデルを構成する多角形の集合です。ビデオでは、メッシュの再建プロセスが詳述されており、バーレルの3Dモデルを作成する際に重要なステップです。

💡法線マップ

法線マップは、3Dモデルの表面の傾きを定義するテクスチャで、リアルな影やハイライトを作り出します。ビデオでは、法線マップの生成方法やその重要性が説明されています。

💡ラフネス

ラフネスは、物質の表面の粗さを表す属性で、反射や光沢に影響を与えます。ビデオでは、ラフネスチャンネルを作成し、バーレルのメタル部分の粗さを表現する方法が紹介されています。

💡エクスポート

エクスポートは、3Dソフトウェアから他のソフトウェアやプラットフォームで使用するためにモデルやテクスチャを保存するプロセスです。ビデオでは、完成した3Dモデルを他のエンジンで使用するためにエクスポートする方法が説明されています。

Highlights

使用photogrammetry技术在substance 3D sampler中创建3D模型的方法介绍

barrel模型作为学习3D建模基础的典型案例

photogrammetry在游戏和其他3D应用中的实用性和流行度

使用marmoset实时渲染引擎展示最终3D模型效果

barrel模型的非优化状态和多边形数量讨论

通过photogrammetry技术实现的纹理质量在游戏开发中的应用

Skillshare平台课程推广和一个月免费试用介绍

3D sampler 4.0版本新特性和3D对象beta功能的介绍

导入照片集并使用AI技术生成遮罩以优化3D重建过程

遮罩在控制3D重建中的错误信息和提高精度中的作用

系统硬件要求和处理大型3D模型时的注意事项

使用高精确度设置进行3D模型的网格重建

3D模型重建过程中的等待时间和处理时间讨论

模型重建后的处理和优化，包括缩放和对齐

使用不同的多边形数量重新处理模型以获得不同细节级别的讨论

模型在substance 3D sampler中的显示问题和解决方案

使用color replace和switch channel技术创建粗糙度贴图

通过调整亮度和对比度来增强粗糙度效果的方法

使用substance 3D sampler的过滤器和功能来创造视觉趣味

将3D模型和纹理导出到其他引擎或软件的步骤

substance sampler对学生和设计师的经济实惠订阅选项

视频结尾对观众的感谢和对频道增长的期望

Transcripts

[Music]

hey guys welcome to the next video in

this Channel today I'm going to tell you

a small story back in 2015 2016 when I

came back to Mexico and started my

little business over here I was trying

to come up with a like like something a

prop or something that my students could

do in order to learn Maya in order to

learn seabush how to do proper UVS how

to do uh texturing and all this stuff

and I didn't want to do a simple sphere

or a simple box so after doing a little

bit of research I found the barrel the

barrel is a prop that has been used a

lot of times and it's a really really

good way to learn a lot of basic things

about 3D so ever since then the barrel

has become kind of like my my staple

exercise and every single time I started

a new software I teach my students how

to do a barrel inside of that software

or using the techniques for that

specific software and that is exactly

what we're going to be doing today today

I'm gonna show you how to bring this

little Barrel right here to life using

photogrammetry inside of substance 3D

sampler this is the final result we're

inside of marmoset right now which is a

real-time rendering and as you can see

we get a really really really nice

result yes this is not optimized it has

quite a bit of the like a lot of faces I

believe I can show you the wireframe

here it's not super super optimized but

it's it's quite good like for just a

very basic acid it's quite quite good

and the cool thing about this is that uh

if this was a game for instance we could

have multiple of these guys and you can

see the textures look really really

really good so photogrammetry is one of

those things that has been really

powerful in the last couple of years a

lot of studios are using it nowadays and

I do believe that if you're going to be

a mother artist or a character artist or

any kind of uh like 3D artist knowing

about photogrammetry and how to

implement it in your pipeline is going

to give you a huge huge boost in your

skills so I'm gonna show you how to do

that after this very brief skillshare

promotional

hey guys Abraham here I just wanted to

remind you guys that we upload all of

our courses to skillshare skillshare is

this amazing site where you can access a

ton of different content to learn

improve and grow as an artist we have

all of our courses available to watch

and learn from right now in skillshare

you can check the description down here

and skillshare is offering one free

month trial to their premium membership

with this membership you're going to be

able to access all of our courses and

watch and learn all of the amazing

things that we cover with all of the

softwares so what are you waiting for

check skillshare down here below

there we go so we're inside the 3D

sampler 4.0 and this is a like at the

time of this recording this update

happened two days ago so there's not a

lot of new information things will be

improving and will be changing as these

things uh keep on going and but right

now we have as you can see here this is

a new project and we have this 3D

objects beta so I'm going to click here

I'm going to create a new 3D object and

it's going to tell me to import my data

set your data set are of course all of

the pictures that you took of whatever

object you want to use in this case I

want to use this little Barrel right

here

um the images should be in jpeg Target

pngs like normal files I made the

mistake of taking them with an I wasn't

an iPhone I think it was an iPhone so I

had to convert the images make sure

they're in jpeg it's easier targets

um because it's it's the way that this

software works now once you import your

images you're gonna get this you might

get this thing called photo groups and

photo groups are like a very basic way

in which substance sampler

divides the groups of photos thinking

that they belong to is the same objects

as you can see here it took like I think

18 photos into one and then the next

photo Group which is this one has ad1

photos so this is the set that we're

going to be using we're going to be

using photo group number

um number two now before we just hit

submit which you could and it's going to

give you a nice result but before we do

that I'm actually going to go to masks

and I'm going to generate a new batch of

masks what this will do is it will go to

each individual image and it will create

a black and white image using AI

technology to find out what the object

is that you're looking for and it will

generate The Masks that's going to make

your 3D reconstruction a lot cleaner

because if you don't use mask what's

going to happen is you're going to get

information from all over the room

especially if you're not in a control

environment you're gonna get for

instance this back table right here the

walls the windows and we don't want that

we only want a little Barrel so that's

why we're focusing on that specific

object and that's what we generate to

check your mess you can go here to the

image and as you can see it's now linked

to a mask this is temporary very file

you can just click this one right here

and look at that we got a very very nice

mask right there now the generation of

the batch masks is relatively fast as

you can see it's almost done it's like

three quarters of the way but after we

do this after the masks are done and I

hit submit that's when things are going

to be a little bit slower with this kind

of Technologies since there's a lot of

processing things that needs to happen

make sure you have enough space and make

sure you have enough like computer power

to do so if you're trying this on a very

old computer you might be struggling

actually the recommended settings are a

graphics card that has at least I

believe six gigabytes of Graphics memory

at least 12 gigabytes of RAM like you do

need a little bit of a beefy computer uh

but it should be done it could

it should you should be able to do it uh

regardless so now I'm going to hit

submit I'm going to say high precision

and default under further ordering and

this is where the actual processing is

going to begin

I'm gonna pause the real the video real

quick it's just gonna be a quick jump

for you and in the meantime what the

well yeah just it's just gonna be a

quick boss I'll be right back

I was gonna say that on my computer I've

done this a couple of times I've

actually recorded this like three or

four times because it was crashing well

not crashing I was having issues with

the recording but it usually takes about

five minutes three four minutes

depending again on the complexity of the

object depends on the amount of images

that you have and the quality of the

images just be patient and went for the

wait for the whole process to to finish

uh there's not going to be any like

window or something it's just gonna

straight it goes straight to the mesh

reconstruction okay you're not going to

get any sort of like uh check mark or or

anything

there we go so as you can see we

finished the processing and it's gonna

jump straight to the mesh reconstruction

which is going to give us the point

Cloud information which by the way if

you're familiar with other ways to

process Point Cloud information you

could export that specific information

out of um other substance sampler for

use in other like pipelines so there we

go as you can see here is the

Reconstruction for a little Barrel this

is the point Cloud we're not seeing the

model just yet and the first thing I

want to do here what I want to do here

is I want to click this little show

bounding box icon so that we can scale

the bounding box and constrain it to

only where the little Barrel is you can

see it got or it captured a couple of

extra points outside of the barrel and I

really don't want that I want to keep

this thing close close to the barrel I'm

even going to grab the ground plane here

and get it right there so it cuts the

barrel right at the border unfortunately

we're not going to have a lower cap for

this Barrel we would need to find a way

to photograph the lower parts of the

barrel sometimes they like usually like

elevated platform or something I've seen

people for instance for food they would

poke the object like imagine a donut

what they would poke the the donut with

a little uh like long wooden stick and

that way the connection point is very

simple and they can just clean it up

later on so there's a lot of ways to do

it but for now we're gonna keep it

simple for this one

there we go and I hit submit there's

going to be another process and this is

the one that usually takes a little bit

longer again it depends on your memory

your system and everything but this is

when it is actually processing the mesh

so that you get something

um that's going to be working okay now

we're going to be able to see the actual

mesh after this process I'm gonna

possible click again wait for this to

finish and I'll show you the result

and here we go so this one took about 10

minutes roughly to um to process and

this is what we get now uh here's a

little bit of an interesting thing that

I found you could immediately add this

to your project however this is actually

not like prepared with the normal base

and the height base that we need which

uh like messes up the whole pipeline

really so even though you don't have to

process a new version I do recommend

that you do

um and it can be at the same like sort

of like amount of faces you can even go

like higher if you want like let's try

75 000 faces I'm not going to move any

of the options here but you're welcome

to explore them there's a couple of like

little tweaks and things that you can do

usually by default you're going to get a

really nice result again I'm just doing

a very Pro like a new process version

here with seventy thousand seventy five

thousand uh polygons okay it's pretty

much like decimation inside of C brush

so you cannot get a specific Target

count there we go now again uh this is

in be there so it has a couple of issues

I noticed that there's this sort of like

weird look and the whole thing like it

looks like the normals are like messed

up don't worry once you have this like

version one and you're happy with a bass

I'm just gonna say add to project I'm

gonna hit OK

what's gonna happen is we're gonna get

it here and as you can see it looks

perfectly perfectly fine so even though

it looked really weird on the on the

display that's what where I got stuck a

couple of times while doing this process

uh it's gonna look fine right here okay

so look at this I mean this is amazing

it looks really really really freaking

good and not only that but if I go over

here and I change to 3D and 2D view I

can change the information and there is

normal information right now there's

very little normal information why

because we don't need as much normal

information because the object is quite

heavy in its um in its uh phases right

however we can go to this option right

here open the properties and let's bring

them down here there we go and what we

can do is we can reprocess this for

instance if I switch from 75 000 to 7 uh

or 7500 and I hit enter it's gonna

reprocess the whole thing but now with

10 times less the amount of faces that

we have okay and look at this this thing

pretty much the same thing but now

there's way more information on the

normal map because we're going to be

needing it for everything that we are

out doing here so yeah this is this is

great and you could technically export

this as is to any software and you're

ready to go we have normal information

we even have hide information if you

want to do some displacement later we

have ambient occlusion which is great to

get an extra little punch there and of

course the color which is really really

important you can change the

um the texture projection here you can

change things as like for instance here

on the normal page number where I said

Advanced General baking you can add

anti-aliasing so we can add like a two

by two anti-aliasing effect and this

should give us slightly better results

just be careful with this it's a slow so

every time you do it you have to wait a

little bit for it to process and as you

can see the the ubis yeah right here I

mean they're not perfect but they're not

that bad like we could work with this if

we had to do something inside of

Photoshop for instance and yeah now I'm

gonna show you one thing that's really

really cool and that is the roughness

because we don't have any roughness

channel right uh unfortunately

photogrammetry cannot capture roughness

but if you have seen any of my series

when I talk about textures roughness can

be kind of like inherited from the color

okay so I'm gonna add I'm gonna go let's

close I would like to

dock these things but it's not letting

me let's just knock it right there there

we go so I'm gonna go here to layers and

what we can do is we can add a custom

filter not custom filter sorry a layer

and there's one called color replace

okay so

switch channel switch channel switch so

Channel switch is a way in which we can

use the information from one channel to

affect the information of another

channel so right now as you can see this

is set to base color and base color so

pretty much copying one color to the

same layer what I want to do is I want

to use the base color and switch this or

move this to the roughness Channel look

at that so now we can use the base color

to a factor of this Channel and we can

use blending modes such as multiply or

overlay and play around with the opacity

to modify how this thing is going to be

affecting the overall elements uh if we

go now you can see that we have a

roughness channel here look at that we

have roughness information that we can

use now usually this or this little

Barrel was a little bit um

when rougher than I wanted to so again

no problem like switching these things

around and finding something it looks a

little bit better overlay is quite nice

let's try and multiply multiply is not

that bad

and what I want here is I want the metal

bands which are the dark ones to be a

little bit rougher than uh or a little

bit less rough which means darker than

everything else the wood should be a

little bit darker now on top of this I

can add another Channel such as say uh

levels

it's not the levels it's over here this

brightness and contrast I'm going to add

this on top and this brightness and

contrast thing I can say hey I only want

you to affect the roughness Channel it

works very similar to how it works

instead of a substance for instance and

we can crunch this up as you can see

right there crunch this down and play

around with the values until we find

something that gives us a little bit

more of an interesting look

okay

this is something like this not bath

you can go back to the channel switch

and play around with the opacity

get to get the general effect of how we

want this thing to be brightness and

contrast again only affecting the

roughness

and there we go now I'm not a huge like

I'm not a master user of this 3D sampler

there's people that do a lot more stuff

with this and they they can generate

really really cool looking elements

let me see if there's another filter

like levels

you can go here to filters

sure let's see what else can we do color

replace no color temperature no

but yeah you can use all of these

filters and create like different

variations some of them are are more

oriented towards like textures like

people who want to do like a

let's try this

Hue saturation over here again we only

want to affect roughness

we can affect

like a general lightness or Darkness

over here there we go something like I

just want to create like a visual

interest on the texture as you can see

right there

um I wish we had levels that would be

really really cool

and I guess we can do it with this thing

there we go

looks a little bit better let's go back

to channel switch

a little bit there

that's it we can generate some

interesting and complex things over here

seems like it's actually

am I invert anything it kind of looks

inverted doesn't it

it's the overlay

uh now let's do divide there we go

let's go divide let's go brightness and

contrast

and adjust these things right here

that's a little bit better

there we go

so I wonder at least I want the crevices

to look a little bit like less less

sharp look at that now that looks more

like like a realistic effect now we

could do the same thing with metalness

like I I don't have a metalness or this

thing is very rusted so it's not as

shiny as it could be but we could do

like similar features with metalness to

obtain uh what we want finally the last

thing that we need to do to get this

into uh into marmoset and use it if we

need to is to go to this button over

here which is the share button and let's

clear this queue we're going to export

on the mesh settings you're going to

cite the format which in this case could

be fbx and in this one you're going to

check for what engine do you want or for

what a specific preset you want to

export let's say I want to do Arnold I

can select which Maps I want to export

um let's do like um again on real Engine

4 here jpeg the texture size you can

export this a higher at a higher uh like

size even though we did the bakes at 2K

it's gonna resample them and create like

a 4K texture which is really really cool

and uh yeah once you do that we are

ready to jump into marmoset just connect

our texture our textures like I did

right here by the way if you don't use

Marvel set I do have a course really

really good about marmoset all of the

stuff uh down here on the links as well

but uh yeah this is the final result my

friends like once you do this you can

get any object

scanned from your phone directly into

any engine or anything that you might

need so hopefully this whole process has

been helpful to you guys again it's

really new information so there might be

a couple things that change in the

future if you're watching this down the

line make sure to check the latest

updates on the software usually on the

documentation you're going to find like

anything that changed from the process

that I'm showing to the newer processes

that you might find uh but it's a game

changer guys like this is really really

easy to do substance sampler is free if

you're a student and enrolled in a like

a a proper University or a authorized

University it has a really cheap

subscriptions just 20 bucks for sampler

designer and painter so I do think it's

worth it to be honest and yeah you can

get this very cool looking results

really really fast so that's it for this

one guys thank you very much for hanging

around and I'll see you back on the next

couple of days make sure to leave a like

share subscribe if you like this tip it

could really help the channel to hit uh

33 000 subscribers we're really close to

our our goal so uh every every little

bit of support helps thank you very much

guys I'll see you back on the next one

bye